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All Master's Theses Master's Theses
1966
Criteria, Anthology, and Explication of Poetry for First Grade

Echo Mae Kime
Central Washington University
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CRITERIA, ANTHOLOGY, AND EXPLICATION
OF POETRY FOR FIRST GRADE
A Thesis
Presented to
the Graduate Faculty
Central Washington State College
In Partial Fulfillment
of the Requirements for the Degree
Master of Education
by
Echo Mae Kime
August, 1966
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APPROVED FOR THE GRADUATE FACULTY
________________________________
John E. Davis, COMMITTEE CHAIRMAN
_________________________________
Edith Kiser
_________________________________
E. E. Samuelson
ARS POETICA
Archibald MacLeish
A poem should be palpable and mute

As a globed fruit
Dumb
As old medallions to the thumb
Sjlent as the sleeve-worn stone

Of casement ledges where the moss has grown--
A poem should be wordless

As the flight of birds
A poem should be motionless in time

As the moon climbs
Leaving, as the moon releases

Twig by twig the night-entangled trees,
Leaving, as the moon behind the winter leaves,

Memory by memory the mind--
A poem should be motionless in time

As the moon climbs
A poem should be equal to:

Not true
For all the history of grief

An empty doorway and a maple leaf
For love
The leaning grasses and two lights above the sea--
A poem should not mean

But be. (50:515)
TABLE OF CONTENTS
CHAPTER PAGE
I • WHY POETRY? 1
Introduction 1
Statement of the Problem • 12
The Broad Problem 12
A More Limited Problem 13
Purpose of the Study • • 14
Limitations of the Study 15
II. CRITICAL CRITERIA 17
Poets and Critics 17
Children's Literature Specialists 26
Formulating Criteria • • . 32
Criterion I 39
Criterion II . 41
Criterion III 42
Criterion IV • • 42
Demonstration of Application 43
III. DEFINITIONS, ANTHOLOGY, AND EXPLICATION 45
Definitions 45
Rhythm • • • 45
v
CHAPTER PAGE
Meter 46
Verse and Free Verse . 46
Rhyme 47
Masculine rhyme 47
Feminine rhyme . 47
Triple rhyme . 48
Slant rhyme 48
Bracket rhyme 49
Consonance • 50
Alliteration • 51
Assonance 52
Assonance of similarity 52
Assonance of contrast 55
Assonance of pattern 55
Cacophony 56
Euphony 57
Repetition • 58
Imagery 60
Figurative Language 64
Simile • 64
Metaphor • 64
vi
CHAPTER PAGE
Personification 65
Symbol • 66
Theme 67
Tone 68
Denotation . 69
Connotation 69
Stanza 70
Heroic Couplet • 70
Anthology and Explication 71
Wind and Weather . • . • • 73
"Brooms" by Dorothy Aldis 73
"Rain" by Robert Louis Stevenson 74
"The Sky Is Low" by Emily Dickinson 75
11
Very Lovely" by Rose Fyleman 76
"Rain Sizes" by John Ciardi 77
"White Sheep, White Sheep" anonymous 79
"Wind on the Hill" by A. A. Milne 80
"Who Has Seen the Wind?" by Christina
Rossetti 82
"O Wind, Why Do You Never Rest?" by
Christina Rossetti 83
vii
CHAPTER PAGE
"The Wind" by Robert Louis Stevenson • 84
"Wind Song" by Carl Sandburg • . • • . 85
"Down! Down! 11
by Eleanor Farjeon 87
"Summers End" by Lillian Moore • • 88
"First Snow" by Marie Louise Allen 89
"A Pine Tree Stands So Lonely" by
Heinrich Heine • . • 90
"Winter" by William Shakespeare 91
"The Snow Man" by Mildred Plew Meigs • 93
"Chanson Innocente" by E. E. Cummings 95
Time . • 97
"Small Song" by Frances Frost 97
"Morning" by Emily Dickinson • 98
"There Isn't Time" by Eleanor Farjeon 100
"Bedtime" by Eleanor Farjeon • 101
Witches and Halloween 102
"Black and Gold" by Nancy Byrd Turner 102
"The Witch of Willowby Wood" by
Rowena Bennett 103
"The Egg-Shell" by Rudyard Kipling 106

viii
CHAPTER PAGE
Just Imagine • • • 108
"Wishes" by Rose Fyleman 108
"If" anonymous . .. .. . . . 110
"The Toaster" by William Jay Smith 111
"The Gold-Tinted Dragon" by Karla Kushkin. 112
"One Day When We Went Walking" by Valine
Hobbs 114
"Poor Old Lady" unknown 116
"Limericks" by Edward Lear • 118
Trains and Travel 119
"Wonder Where This Horseshoe Went" by
Edna St. Vincent Millay 119
"Travel" by Edna St. Vincent Millay 121
"Trains" by James s. Tippett 122
"The Freight Train" by Rowena Bennett 123
"A Modern Dragon" by Rowena Bennett 125
Animals and Other Creatures 126
"Notice" by David McCord • 126
"Jump or Jingle" by Evelyn Beyer . 127
"The Answers" by Robert Clairmont 129
"A Big Turtle" unknown . • • • • • 130

ix
CHAPTER PAGE
"The Little Turtle" by Vachel Lindsay 131
"Chanticleer" by John Farrar . • • . . 133
"Mrs. Peck-Pigeon" by Eleanor Farjeon 134
"A Bird" by Emily Dickinson 135
"The Eagle" by Alfred, Lord Tennyson . 137
"Cats" by Marchette Chute 138
"The Purple Cow" by Gelett Burgess . 139
"Flies" by Dorothy Aldis • 140
"The Elephant" by A. E. Houseman 142
"An Inconvenience" by John Banister Tabb . 143
"Fuzzy Wuzzy" by Lillian Schulz Vanada 144
"Only My Opinion" by Monica Shannon 145
"I Held a Lamb" by Kim Worthington • 146
"On the Grassy Banks" by Christina G.
Rossetti • • 147
"The Octopus" by Ogden Nash 149
"Mice" by Rose Fyleman • 150
"The House of the Mouse" by Lucy Sprague
Mitchell 151
"Holding Hands" by Lenore M. Link 152
"The White Seal" by Rudyard Kipling 153

x
CHAPTER PAGE
"Puppy" by Aileen Fisher • • • • • 154
"Sunning" by James s. Tippett 155
"Snake" by Emily Dickinson • 157
People • • • 159
"Presents" by Marchette Chute 159
"Mud" by Polly Chase Boyden 161
"Galoshes" by Rhoda W. Bacmeister 162
"Tired Tim" by Walter de la Mare 164
"People" by Lois Lenski 165
"Happiness" by A. A. Milne . 166
"The End" by A. A. Milne . • 167
"Miss T." by Walter de la Mare • 168
"Choosing Shoes" by ffRida Wolfe • 170
"The Cobbler" by Eleanor Alletta Chaffee • 172
"Gregory Griggs" by Laura E. Richards 173
"Godfrey Gordon Gustavus Gore 11 by William
Brighty Rands 174
"Where 1 s Mary?" by Ivy o. Eastwick . 176
"I Meant To Do My Work Today" by Richard
LeGalliene . 177
xi
CHAPTER PAGE
Fun and Games 178
"A Swing Song" by William Allingham 178
"Merry-Go-Round" by Dorothy Baruch 180
"A Parade" by Mary Catherine Rose 182
"Hiding" by Dorothy Aldis 183
"The Secret Sits" by Robert Frost 185
Smell, Feei, See . . 186
"Sniff" by Frances M. Frost 186
"The World is Full of Wonderful Smells"
by Zhenya Gay 187
"When I Was Lost" by Dorothy Aldis • 188
"Color" by Christina Rossetti 189
Thoughts and Scenes 191
"To Make a Prairie" by Emily Dickinson 191
"A Word is Dead" by Emily Dickinson 192
"I'm Nobody" by Emily Dickinson 193
"Dust of Snow" by Robert Frost 194
"The Rainbow" by Christina Rossetti 195
"Afternoon on a Hill" by Edna St.
Vincent Millay • . • • 197

xii
CHAPTER PAGE
"Stopping by Woods on a Snowy Evening" by
Robert Frost . . 198
"Some One" by Walter de la Mare 200
"The Moon's the North Wind's Cooky" by
Vachel Lindsay • • • . • • 202
"The Moon" by Elizabeth Coatsworth 204
"Reeds of Innocence" by William Blake 205
IV. CONCLUSIONS AND RECOMMENDATIONS 208
BIBLIOGRAPHY • • . • • • • • . • • . • • • 211
CHAPTER I
WHY POETRY?
I. INTRODUCTION
From the time of Plato the nature, value, and effect
of poetry have been discussed and written. It is the
special interest here to explore some of these evaluations
and discussions, focusing attention on the unique contribu-
tions of poetry to education.
In his Republic Plato banned all poetry except "hymns
to the gods and famous men" (58:8). It was his opinion that
"all poetical imitations are ruinous to the understanding of
the hearers" and that only by revealing the "true nature" of
poetry could people be protected from it (58:1). That
nature, as he understood it, was an imitation of an imita-
tion of reality, hence "thrice removed from the truth"
( 58: 3) .
But even more dangerous than its distance from truth
was the power, recognized by Plato, of poetry to stir the
emotions. Inasmuch as from his point of view the emotions
were to be controlled, this undesirable stimulation and

2
expression of emotion in a vicarious experience made it more
difficult to control emotion in a personal experience.
And quite the same may be said of lust and anger

and all the other affections, of desire and pain and
pleasure, which are held to be inseparable from every
action--in all of them poetry feeds and waters the
passions instead of drying them up; she lets them
rule, although they ought to be controlled, if mankind
are ever to increase in happiness and virtue (58:8).
That poetry is imitation of a sort and that it does
have the power to stir the emotions have been acknowledged
by many since the revelation by Plato, but most have
regarded those qualities as good and desirable, rather than
dangerous.
The relationship between poetry and imitation, and
the resultant pleasure, were discussed by Aristotle in "The
Poetics." He saw the instincts for imitation and rhythm as
the basic reasons, or causes, for poetry.
Poetry in general seems to have sprung from two

causes, each of them lying deep in our nature. First,
the instinct of imitation is implanted in man from
childhood, one difference between him and other animals
being that he is the most imitative of living creatures,
and through imitation he learns his earliest lessons;
and no less universal is the pleasure felt in things
imitated. We have evidence of this in the facts of
experience. Objects which in themselves we view with
pain, we delight to contemplate when reproduced with
minute fidelity; such as the forms of the most ignoble
animals and of dead bodies. The cause of this again is,
3
that to learn gives the liveliest pleasure, not only to

philosophers, but to men in general; whose capacity,
however, of learning is more limited (58:200).
Man, then, has the instinct for imitation and receives
pleasure both as participant and viewer. Both participant
and viewer learn through imitation.
Imitation, then is one instinct of our nature. Next,

there is the instinct for "harmony'' and rhythm, metres
being manifestly sections of rhythm. Persons therefore
starting with this natural gift developed by degrees
their special aptitudes, till their rude improvisations
gave birth to Poetry (58:200).
This instinct for harmony and rhythm developed eventually
and naturally into poetry.
Aristotle spoke also about the excitation of the
emotions by poetry. He felt this was a value rather than a
dangerous quality. By vicariously experiencing strong
emotion one is purged of it. This value of catharsis is
revealed in his definition of tragedy:
Tragedy, then, is an imitation of an action that is

serious, complete, and of a certain magnitude; in
language embellished with each kind of artistic orna-
ment, the several kinds being found in separate parts
of the play; in the form of action, not of narrative;
through pity and fear effecting the proper purgation
of these emotions (58:202).
Whereas Plato thought exercising emotion caused the loss of
control over those emotions, Aristotle saw that a purgation,
a loss of strength of the emotion, resulted.

4
Wordsworth, in the appendix to the "Lyrical Ballads,"
stated that "all good poetry is the spontaneous overflow of
powerful feelings" that would be communicated to the reader,
exciting a like response in him (58:32).
Shelley, who in his essay "A Defense of Poetry"
called poetry "the expression of the imagination" and recog-
nized that the instinct for poetry is as old as man, felt
that the kinds of vicarious emotional experiences possible
in poetry served to "awaken and enlargen the mind itself by
rendering it the receptacle of a thousand unapprehended
combinations of thought" (60:2,13). "It (poetry) compels us
to feel that which we perceive, and to imagine that which we
know" (60:13).
Coleridge in Biographia Literaria stated that a poem
had "for its immediate object pleasure, not truth" and felt
that one of the qualities of a poet, and through him, of
poetry, was "a more than usual state of emotion with more
than usual order" (11:10,12).
If it is accepted that poetry gives pleasure, stimu-
lates the imagination, and excites or exercises the emotions,

5
what place does it have in education? An article in the
Journal of Higher Education entitled "Education, Poetry, and
the Person" has answered that question.
The position which poetry holds in education can most

clearly be seen with its relationship to the human sub-
ject as he is present in the world. For poetry serves
to keep man in contact with that which constitutes his
most personal and direct experience with life . . • •
Since education is a human awakening and since

poetry reaches the human being through imagination,
poetry should hold a very important place in education.
Art conveys a kind of knowledge . • • which brings us
in contact with those things which by their very
nature can be apprehended only intuitively, but which
never the less must be glimpsed if we are to live full
lives (73:334,336).
Sherman, who calls poetry "the gift that lasts,"
perceives that "poetry links people together in the human
race and removes the barriers which separate them" (61:93).
If the most important task of teaching in our time is "the
ending of man's estrangement from himself," then, from this
point of view, "poetry is more important to our salvation
than rocketry" (13: 377) •
Smith, in a recent article in Elementary English
entitled "The Children's Literary Heritage," had this to say
of the role of poetry in the elementary school:

6
Perhaps the supreme privilege of the teacher of

literature in the elementary school is to introduce
children to poetry. The poet sees with the eye of
the imagination, and learning to see as he does can
make all life different for youthful readers. He
hears with the ear of a musician, and learning to
hear as he does can enrich experience for boys and
girls as long as they live.
Poetry, pupils should learn early, is not a thing

apart from life. There is a poem about everything
that interests boys and girls, and the sooner they
discover that fact, the richer their lives will be
(62 :721).
Endres in an earlier edition of that same magazine
also considered the children's literary heritage, but
focused on what the lack or absence of poetry might do to
children:
My general thesis is this: children and youth who

do not have rich and varied experiences with poetry
lose contact with a most edifying and important segment
of their heritage. This is true at each of the several
levels of human experience, whether the poetry deals
with the immediate community and time, with the world
community, or with the world of the ancients (17:838).
The school, then, has a real responsibility to pro-
vide these experiences with poetry in order to transmit this
cultural heritage. "If children are to become acquainted
with poetry, it must come through the open doorway of the
school, with teachers who know and value the experience of
poetry'' (46:75). In this day of emphasis on and interest in

7
science and technological learning, it is essential as the
instruments of education to transmit more than that aspect
of our heritage, to nourish as well the other kinds of
knowledge. "In an age of science in which great emphasis is
placed upon material reality, we must not make the mistake
of passing over that which is most meaningful to man, his
intimate, spiritual experience of life" (73:336).
C. Day Lewis in his book Poetry For You, a book
written for boys and girls about poetry, has made this dis-
tinction between science and poetry and the contribution
each makes:
Science is concerned with finding out and stating

the facts; poetry's task is to give you the look, the
smell, the taste, the "feel" of those facts. Each
has its own purpose and reward.
It is the inclusion of feeling that makes the dif-

ference between poetry and science (40:12-13).
Frye in his book The Educated Imagination has
recognized another basic contribution of poetry to children:
What poetry can give the student is, first of all,

the sense of physical movement. Poetry is not irregular
lines in a book, but something very close to dance and
song, something to walk down (the) street keeping time
to (18: 121) .
8
Certainly this recalls Aristotle's instinct for harmony and
rhythm. Frye also echoes Aristotle in recognizing the
instinct for poetry in all people:
Poetry is the most direct and simple means of

expressing oneself in words: the most primitive
nations have poetry, but only quite well developed
civilizations can produce good prose. So don't think
of poetry as a perverse and unnatural way of distort-
ing ordinary prose statements; prose is a much less
natural way of speaking than poetry is (18:121).
The role of poetry in the development of the faculty
of imagination is one of the most important contributions of
poetry to education. Higgins, who called imagination "the
underlying strength of the child and the poet," defined it
as "the faculty which grasps those invisible links that bind
together the visible points of existence" (28:807,808).
Earnest Ernest in his textbook A Foreword to Literature made
this comment about the defining of "imagination:"
Imagination is a vague word but the poets themselves

often use it to describe a certain element in their
work. For Wordsworth it was the ability to see common
things in a new light; for Blake it meant the power to
transcend the ordinary limits of the five senses and to
see realities beyond the material (14:4).
The use and development of imagination through litera-
ture, specifically poetry, is viewed this way by Frye:

9
Literature speaks the language of the imagination,

and the study of literature is supposed to train and
improve the imagination. But we use our imagination
all the time; it comes into all our conversation and
practical life: it even produces dreams when we're
asleep. Consequently we have only the choice between
a badly trained imagination and a well trained one,
whether we ever read a poem or not (18:134-35).
So if we do choose a well trained imagination, poetry can
make a real contribution to that training.
c. Day Lewis views this exercise of imagination and
the resultant sharpening of the senses as the ''highest
function of poetry~ (40:100).
The exercise of the imagination has been linked by
some writers to another possible contribution of poetry to
education--the teaching of values. Percy Bysshe Shelley
wrote: "The great instrument of moral good is the imagina-
tion; and poetry administers to the effect by acting on the
cause" (58:459). More recently Sherman stated that ''poetry
creates a climate for good values" (61:93).
A less aesthetic, perhaps more functional and hence
easier to discuss, contribution of poetry to elementary
education is the vocabulary that can be encountered in
poetry. The New York curriculum guide for poetry makes that
point this way:

10
One of the many reasons why pupils in the Elementary

Schools should study poetry is because of the splendid
training it gives in acquiring a more extensive voca-
bulary. We note that although several words may mean
the same thing, yet certain words have a special shade
of meaning or sound which makes them more expressive
( 54: 51) •
The benefits that poetry might provide to language develop-
ment certainly cannot be disregarded.
More responsible citizenship in a free country might
also be an end product of the role of poetry in language
development. The special relationship between language and
freedom is revealed in this statement by Frye:
You see, freedom has nothing to do with lack of

training; it can only be the product of training.
You're not free to move unless you've learned to walk,
and not free to play the piano unless you practice.
Nobody is capable of free speech unless he knows how
to use language, and such language is not a gift: it
has to be worked at (18:148).
Another contribution of poetry to education is the
possible use of it as a motivational device for creative
experiences. A thesis reported in Elementary English used
poetry as motivation for painting in order to discover
"those rhythmic words which stimulated feeling and emotional
response in a visual manner" (53:56).

11
This same study also recognized that "the poetry
readings provided perceptual and auditory experiences as a
basis for language development" (53:59).
A teacher in California recently reported using
poetry with educationally deprived children to help them "to
learn inductively to be better readers, speakers, and writ-
ers through daily participation in choral verse work"
(9:275). In this as yet experimental program the teacher
felt that this oral group work with poetry appeared to help
them:
. • • (1) increase their feeling for and knowledge

of the intonation of our language, (2) expand their
vocabularies, (3) use context clues, (4) read for
meaning, and (5) become more skillful in using oral
and written language (9:275).
Some teachers, perhaps agreeing that poetry is a sig-
nificant part of life and that it does make a real contribu-
tion to education, use poetry to help teach all aspects of
the curriculum from safety, through arithmetic and social
studies, to science (67; 34:7-10). It is true, as one
teacher has written, that "the same mysteries that challenge
the scientist also capture the imagination of the poet"
(63:27). However, there is a difference that must not be

12
ignored: "Science gives us information about the world.
Poetry releases meanings about the world" (63:27).
II. STATEMENT OF THE PROBLEM
The Broad Problem
Poetry is an important part of education and an
accepted part of the elementary school program. In present
practice the trend is to correlate the various elements of
the school program, so that the selection of poetry is fre-
quently determined by the subject matter of the poem as it
correlates to some area of study. This manner of selection
may fail to give sufficient attention to the merits of the
poem as a poem.
Subject matter alone is an unsatisfactory basis of
choice; the poetic qualities of the poem must be the prime
determiners in the decision to present any poem to any class
whether that class is kindergarten or advanced study of
poetry. Unless the teacher is selective and discriminating,
she will be unable to project the emphasis of choice where
it really belongs--on the quality of the poetry itself.

13
A More Limited Problem
In the first grade poetry, or verse, or rhyme, is
used in many ways. It is an integral part of the reading
readiness program as an aid to developing oral and aural
discrimination of initial consonants and rhyme endings.
Frequently poetry is used in rhythm activities or as a
language activity to develop oral facility. Sometimes
poetry is used for choral speaking to provide both a lan-
guage activity and a group experience. Often poetry is a
part of a unit of study in science or social studies such as
"'Insects," "Pets," "The Farm," or "The Family." Occasionally
poetry is read aloud by the teacher as a listening exercise.
All too frequently it appears that the basis of
choice is the utilization of the poem rather than the merit
or the qualities of the poem as poetry. A poem is too often
chosen for use in the classroom because it is about some-
thing, rather than because it is something. As the poet
Archibald MacLeish has said, "A poem should not mean/But be."
In the first grade the problem of selecting poetry is
further compounded by the short attention span, what has been
felt to be the limited listening or understanding vocabulary,
the relatively limited background of experiences on which to

14
base understanding, and the range of interests of children
of that age group. Nevertheless, even in first grade it is
essential to keep the focus of choice on poetic quality.
First graders are usually aware of rhyme and rhythm
because of their experiences with Mother Goose and other
nursery rhymes during the pre-school years and in kinder-
garten. These familiar rhymes are a good place to begin;
as in all things, it is essential to proceed from the known
to the new. To make the transition from Mother Goose to
the poetry of Stevenson, Rosetti, or Dickinson requires that
the teacher consider both the special nature of the first
grader and the unique qualities that differentiate poetry
from doggerel.
III. PURPOSE OF THE STUDY
In recognition of this multi-faceted problem of
selecting poems to use with first grade, it is the purpose
of this study (1) to establish criteria of evaluation and
selection, relating that criteria to the bases of poetry
criticism, (2) using that criteria, to compile an anthology
for use with first grade, and (3) to explicate each of the
15
selected poems in such a manner as to help the teacher
better understand and appreciate the particular poetic qua-
lities of that poem, and hence be more effective in using
that poem in the classroom.
IV. LIMITATIONS OF THE STUDY
The following limitations were observed during this
study:
1. Mother Goose and other nursery rhymes were
excluded because most children will have encountered these
rhymes prior to first grade.
2. Poetry composi~ion by children was not considered
a part of this study because the focus here is on critical
selection from the teacher's point of view.
3. The study was limited to the selection of poems
judged by the writer as appropriate for first grade. Exclu-
sion does not necessarily imply that a poem was judged "not
good;" rather, it may be either that the poem was judged
unsuitable for first grade or that it was not evaluated.
4. Explication of the selected poems is intended for
the edification of the teacher and is not intended as
instructional material for the first grade pupil.

16
5. The study was not intended to be methods or pro-
cedures in teaching poetry. However, by defining and
developing a greater understanding of the nature of poetry,
it is hoped that a method that is more a philosophy than a
procedure will be revealed.

CHAPTER II
CRITICAL CRITERIA
In order to develop the first purpose of this study,
the establishing of critical criteria based on the bases of
criticism, it is necessary to review both what poets and
critics have written about the nature of poetry in general
and what specialists in education have written about the
special nature of poetry for children.
I. POETS AND CRITICS
Poets and their critics have attempted to define
poetry, to establish standards of identification of "good,"
or "real, 11
poetry. Some emphasize the source, the inspira-
tional experience that motivated the poet to write the poem;
others focus on specific elements of language within the
poem. Many stress the effect upon the reader or listener as
the important point of identification. Usually, however, it
is some combination of all three that is presented.
Aristotle in "The Poetics" indicated specific require-
ments of form and language, according to the practice of his

18
time. But even so, the response was still an important part
of the total. As Lane Cooper has written in his expository
book The Poetics of Aristotle:
Aristotle • assumes that a poem is to be judged

by its effect upon a man of sound sense and good edu-
cation, though not necessarily an expert--upon the
'judicious,' as Hamlet remarks. . Form and func-
tion being virtually interchangeable terms, a well
formed poem, like a beautiful living animal, will give
the right sort of judge the right kind of pleasure
(12: 17-18) •
So even for Aristotle the pleasure elicited by the poem was
a real factor in determining the quality of that poem.
Wordsworth thought poetry was the result of a power-
ful emotion "recollected in tranquillity" (58:39). He
believed the subject matter of poetry should be the happen-
ings of everyday life and the language should be that of the
common man, ho\\ever somewhat "purified." As for the pur-
poses of poetry, he wrote:
The poet writes under one restriction only,

namely, the necessity of giving immediate pleasure
to a human Being possessed of that information which
may be expected from him, not as a lawyer, a physician,
a mariner, an astronomer, or a natural philosopher,
but as a Man (58:36).
Pleasure, then, should result from encounter with poetry.

19
Coleridge, too, recognized that pleasure was the goal
of poetry.
A poem is that species of composition, which is

opposed to works of science, by proposing for its
immediate object pleasure, not truth; and from all
other species--(having this object in common with
it)--it is discriminated by proposing to itself such
delight from the whole as is compatible with a dis-
tinct gratification from each component part (11:10).
This idea of "harmonious whole," each part contributing to
the total effect of the poem, is basic to the concept of
poetry since the time of Coleridge even though it had been
suggested earlier in Alexander Pope's "An Essay on
Critic ism."
In wit, as Nature, what affects our hearts

Is not th' exactness of peculiar parts;
'Tis not a lip, or eye, we beauty call,
But the joint force and full result of all. (52:71)
Coleridge made a distinction between "poems" and
"poetry," indicating that not all of a poem will be poetry.
As for this discrimination, he wrote:
What is poetry?--it so nearly the same question with,

What is a poet?--that the answer to the one is involved
in the solution of the other. For it is a distinction
resulting from the poetic genius itself, which sustains
and modifies the images, thoughts, and emotions of the
poet's own mind (11:12).
I
20
Since the time of Coleridge many have written much about the
quality he called "Imagination'' that was shared by poets and
poetry.
Coleridge, however, differed with Wordsworth on the
subject matter of poetry. Rather than using as topics
things a part of the lives of ordinary men, Coleridge chose
the supernatural, or "shadows of imagination." In Chapter
Fifteen of Biographia Literaria, "The Specific Symptoms of
Poetic Power," he listed the "characteristics of poetic
genius." As he indicated them, those symptoms are:
(1) "perfect sweetness of the versification," the music or
rhythm of the poem; (2) "choice of subjects very remote from
the private interests and circumstances of the writer;"
(3) images that communicate passion or "have the effect of
reducing multitude to unity;" and, (4) "depth and energy of
thought." The quality of the thought was of equal impor-
tance with the other elements. "No man was ever yet a
great poet without being at the same time a profound
philosopher" (11:14-19).
21
Shelley, who in the essay "A Defense of Poetry"
called a poem "the very image of life expressed in its
eternal truth," indicated three effects of poetry on
persons:
Poetry is ever accompanied with pleasure.
It awakens and enlarges the mind itself by

rendering it the receptacle of a thousand unappre-
hended combinations of thought. . . . The great
instrument of moral good is the imagination; and
poetry administers to the effect by acting on the
cause (60:11, 13, 14).
These may be summarized as pleasure, vicarious experience,
and exercise of the imagination. Shelley felt that this
expression of language by poets, in whom the "faculty of
approximation to the beautiful" resulted in metaphorical
language that to the reader or listener "marks the before
unapprehended relations of things and perpetuates their
apprehension" (60:4). In other words, poetry helps us to be
more aware of the world around us and to see more of that
world.
T. S. Eliot in his essay "The Social Function of
Poetry" called pleasure one of the rrmore obvious functions"
of poetry:
22
The first, I think that we can be sure about is

that poetry has to give pleasure. If you ask what
kind of pleasure, then I can only answer, the kind
of pleasure that poetry gives: simply because any
other answer would take us far afield into aesthe-
tics, and the general question of art (15:6).
However, Eliot perceived two obvious functions--the other a
communication of experience.
Beyond any specific intention which poetry may

have, . there is always the communication of some
new experience, or some fresh understanding of the
familiar, or the expression of something we have
experienced but have no words for, which enlarges our
consciousness or refines sensibility (15:6).
Perhaps this might be called a re-ordering of experience;
certainly it is related to Shelley's apprehension.
Some poets have not used the word "pleasure" in their
discussions of poetry, but have implied it in what they have
said. Edgar Allen Poe, although he spoke of "beauty,"
implied the pleasure-as-goal idea:
I would define, in brief, the Poetry of Words as

The Rhythmical Creation of Beauty. Its sole arbiter
is taste. With the intellect or the Conscience, it
has only collateral relations. Unless incidentally,
it has no concern whatever either with Duty or with
Truth (58:480).
A. E. Houseman said that he "could no more define
poetry than a terrier can define a rat." Rather, he thought,
"We both recognized the object by the symptoms which it

23
provokes in us."· His response, as the terrier's to the rat,
is physical. There are three possible manifestations of the
response. The first is goose bumps in which, if he happened
to be shaving when a poem came to mind, the "skin bristles
so (the) razor ceases to act." This is accompanied by "a
shiver down the spine.,,. The second is a "constriction of
the throat and a precipitation of water to the eyes." Of
the third possible response, he wrote:
There is a third which I can only describe by

borrowing a phrase from one of Keat's last letters,
where he says, speaking of Fanny Brawne, 'everything
that reminds me of her goes through me like a spear.'
The seat of this sensation is the pit of the stomach
(29:46).
Houseman believed that "Poetry is not the thing said but a
way of saying it" (29:35).
C. Day Lewis also thought in terms of the response
when he gave this answer to the question, "What is the use
of poetry?" "Poetry is a special way of using words in
order to create a special effect upon the reader and to light
up the world for him" (40:3). Although he does not clarify
just what that effect is, it is that same quality of excit-
ing a response that is so often noted by those who write

24
about poetry. There is an echo of Shelley's apprehension
and of Eliot's re-ordered experience in the phrase "light
up the world."
Mark Van Doren in the preface to his explicated
anthology Enjoying Poetry had this to say about the problem
of defining "poetry:"
I would rather say what poetry does than what it is.

Like love and death, it cannot be defined except by
those who have no wish to define it. It can only be
described in terms of what particular poems accomplish--
this one, that one, and as many more as we have time
and breath to praise (72:x).
Matthew Arnold had earlier expressed the same idea of
inadequacy of definition and had expressed a similar
substitute:
Critics give themselves great labour to draw out

what in the abstract constitutes the characters of a
high quality of poetry. It is much better simply to
have recourse to concrete examples;--to take speci-
mens of poetry of the high, the very highest quality,
and to say: The characters of a high quality of
poetry are what is expressed there. They are far
better recognized by being felt in the verse of the
master, than by being perused in the prose of the
critic (58:493).
Hopefully this point of view justifies the anthology that it
is a part of this study.

25
Other writers who were not also poets have written of
the recognition of poetry in terms of the response of the
reader. I. A. Richards gave this as the test of poetry:
• • • Only genuine poetry will give to the reader

who approaches it in the proper manner a response
which is as passionate, noble, and serene as the
experience of the poet, the master of speech because
he is the master of experience itself (58:514).
Whether or not the experience of the poet, the basis of the
poem, is communicated to the reader and excites a like
response in him, seems to be a primary element in judging
poetic quality.
Earnest recognized only two fundamental elements in
poetry--emotional intensity and music. "The total musical
effect of a poem is a blend of rhythm; word sound, type and
frequency of rhyme, or lack of rhyme" (14:30).
Clement Wood in his book Poets' Handbook has given a
definition of poetry that emphasizes the response and makes
that the differentiating factor between verse and poetry.
He indicates first the characteristics that are shared:
Verse, in our culture, is words arranged with

repetition in their accent rhythm, which tends toward
uniformity or regularity, rather than toward variety.
The other repetitions referred to may be present; but
they are regarded as ornaments merely. The essence of
our verse and poetry is repetition of accent rhythm
(78:3).
26
He then continues, to a degree echoing what others have said,
but expanding upon the personal implications of his
definition:
The distinction here is: Do the verses produce a

deep emotional response, or not? If not, they remain
mere verse; if they do, they are properly labeled
poetry. The qualifying "deep" leaves each reader to
decide for himself how much of an emotional response
he requires, to allocate or promote verse into the
charmed inner circle of poetry. Clearly the only
person who can decide whether or not any given group
of verses is poetry--to you, that is--is yourself
(78:11).
So, if I may be permitted to paraphrase the old saw, one
man's verse is another man's poetry.
Eleanor Farjeon has written a poem about the nature
of poetry. It is included here as her definition.
What is Poetry? Who knows?

Not the rose, but the scent of the rose;
Not the sky, but the light in the sky;
Not the fly, but the gleam of the fly;
Not the sea, but the sound of the sea;
Not myself, but what makes me
See, hear, and feel something that prose
Cannot: And what it is, who knows? (3:186)
II. CHILDREN'S LITERATURE SPECIALISTS
Recent writers have given lists of elements or qua-
lities considered by them to be necessary in poetry appro-
priate for children. Many of the qualities that are listed

27
as essential to choice for presentation to children recall
discussions already noted about the nature of poetry.
May Hill Arbuthnot, a frequently cited authority on
children's literature, has indicated in her book Children
and Books three essential qualities--"melody and movement,"
"words that define with accurate perfection," and content
that appeals both to the emotions and the intellect (3:188).
To aid the adult who is responsible for selecting poetry to
present to children, Arbuthnot has formulated these three
questions as a test of appropriateness and quality:
When we choose a new poem for children we may well

test it by asking ourselves these questions. First,
does it sing--with good rhythm, true unforced rhymes,
and a happy compatibility of sound and subject--
whether it is nonsense verse or narrative or lyric
poetry? Second, is the diction distinguished--with
words that are unhackneyed, precise, and memorable?
Third, does the subject matter of the poem invest the
strange .Q!_ the everyday experiences of life with new
importance and richer meaning? When a poem does these
three things, it is indeed good poetry--it may add to
the child's day one brief moment of laughter, or give
him a new dream to dream over in solitude, or leave
him with a sharpened awareness of life (3:188-89).
The "happy compatibility of sound and subject" certainly
recalls Coleridge's idea of the harmonious whole, all parts
I
28
contributing to total meaning. Point number three is
reminiscent of Shelley's heightened apprehension and Eliot's
enlargened consciousness.
Nina Willis Walter in her book Let Them Write Poetry
listed six principles of selection. Even though she was
primarily concerned with stimulating a creative response,
the points she makes are equally valid when the experience
with the poem is the end, rather than the means to an end.
These principles of selection are: (1) brevity, (2) simpli-
city of idea so that the poem will not demand an emotional
or intellectual response beyond the maturity of the child's
understanding or experience, (3) simplicity of phrasing and
diction, (4) concrete imagery, (5) representation of an
experience that will be recognized with pleasure, and (6)
simplicity of pattern (75:23). Simplicity of pattern is
less important as a criteria of selection when poetry appre-
ciation only is the goal, she indicated.
Separately from the principles of selection, Walter
also listed ten standards of evaluation that reveal "the
essential qualities of poetry. 11 These qualities are:
(1) imagination--for without it, "there is only cleverness,"
(2) emotion, (3) idea, (4) universality, (5) unity--a

29
central idea expressed in a single point of view with a
single emotional effect, .. (6) rhythm, (7) concreteness--
"relate the unknown to the familiar," (8) pattern,
(9) intensity--"Intensity of emotional response to experi-
ence, intensity of imagination, and intensity of rhythm
help to distinguish poetry from prose," and (10) artistic
significance or impact (75:142-44). Elaborating on the
final quality, Walter states:
Artistic significance includes and transcends the

other qualities of poetry. . . • Poetry which has
artistic significance is original, displays aware-
ness and insight, and bears the stamp of the author's
personality (75:144).
Walter also gave the qualities of poetry that appeal
to children; qualities that might well be a summation of the
above criteria and qualities. Those appealing qualities
are "a picturesqueness based upon imagery that makes a
definite, unforgettable impression upon the mind" and "an
experience which is shared or can be shared by the reader"
(75:22).
Maxine Thompson, in an article in Elementary English
based on her thesis for a Master's degree, suggested twelve
"Criteria for Selection of Poems." She recognized that not

30
all twelve qualities will be present in all poems, but
thought the list would give the teacher some basis on which
to make a critical choice. The qualities listed by Thompson
are:
1. Rhythm and rhyme. 'Poetry is really spoken

melody and rhythm is its primary ingredient
• . . • Children also want rhyme in poetry
and so most of the poems presented to them
should be rhyming ones.'
2. Melody and movement. 'Melody and movement

may suggest action or establish mood.
Movement is the beat, the rhythmic pattern
of words.'
3. Repetition.
4. Stimulation to imagination.
5. Dramatic appeal.
6. Unusual or picturesque words. 'Children enjoy

words which picture sound or motion.'
7. Everyday happenings. 'Poetry intended to please

children must be concerned with things that
interest them.'
8. Humor. 'Humorous poetry is a good bridge from

Mother Goose to more serious poetry.'
9. Emotional appeal.
10. Guessing element. The idea of what happened

next which need not be answered within the
poem, but instead may be left to the reader
or listener to resolve for himself.
31
11. Sensory appeal. 'Sensory appeal includes

visual and auditory and kinesthetic imagery
as well as imagery of taste, touch, and
smell.'
12. Subject matter--the child's world. 'The child

needs good poetry to interpret the experiences
of his everyday world with its work and play
and to heighten and enrich those experiences'
( 68 :806) •
These twelve points include many over-lapping groups,
such as listing dramatic appeal separately from emotional
appeal and guessing element. It is evident that even though
this list is longer, essentially the same qualities that are
recognized as criteria by other children's literature
specialists are included here.
C. D. Lewis has suggested to young people in his book
Poetry For You that they test or judge a poem by asking
themselves questions about it. Does it thrill you? Is it
honest emotion, not sentimentality? Does the imagery contri-
bute to the poem as a whole? Does the sound contribute to
meaning (40:112-115)?
The consideration of children's interests was the
basis of choice indicated by Richard Nelson in his article
"Choosing Poems to Help Children Like Poetry." He states
that the action should "zip along," there should be a clear

32
story line, description should be held to a minimum, there
should be either nonsense humor or child experience, and the
vocabulary should be simple enough not to stand in the way
of communication. "Simple vocabulary may cloak complex
ideas" (49: 62) .
III. FORMULATING CRITERIA
All this gives background about the nature of poetry
in general, but the problem approached here is the selection
of poetry for first grade. Before establishing, actually
re-phrasing or re-grouping, the critical criteria according
to the purposes of this study, let us explore the limita-
tions as they were stated in the problem. What then are the
specific limitations or considerations of selection of
poetry for first grade children?
The first response might be that the vocabulary of
poetry should be limited, as is the vocabulary of the first
grader. Vocabulary limitations, however necessary they
might be to beginning readers, are less than obvious for
listeners when one realizes that the average first grader
comes to school with a vocabulary of 24,000 words and pro-
ceeds to learn about 5,000 words per year through each year
33
of school (32:33). Good judgment would indicate that the
child might even be more interested in poetry that would
stretch or expand his vocabulary, rather than remaining
within its imagined boundaries. It appears that there is a
greater danger of alienating the child to poetry by limiting
vocabulary rather than by expanding it, thus exposing him to
the richness of words that he may not as yet have
encountered.
It has been recognized that it is really not essen-
tial to understand all the words to enjoy, to experience, a
poem. As Richards, in writing about the reading of poetry
to give the words the fullness of sound, said of sound as
separated from meaning:
The answer is that even before the words have been

intellectually understood and the thoughts they
occasion formed and followed, the movement and sound
of the words is playing deeply and intimately upon
the interests. How this happens is a matter which
has yet to be successfully investigated, but that it
happens no sensitive reader of poetry doubts. A good
deal of poetry and even some great poetry exists
. . . in which the sense of the words can be almost
entirely missed or neglected without loss. • • • But
the plain fact that the relative importance of grasp-
ing the sense of the words may vary . . • is enough
for our purpose here (58:510).
Houseman, too, agreed that poetry need not all be understood
intellectually (29:36-40).
34
But Richards and Houseman were not writing about
children. Would specialists recommend consulting the recog-
nized vocabulary lists to help decide if the words were
within the child's understanding even though the most recent
list was done in 1945 (41:156)?
They certainly would not.
McVickar in the Grade Teacher wrote this: "A teacher
who worries about a 'controlled vocabulary' is not a friend
to poetry. Words and sounds, new ones and old ones, they
are all there and this is the challenge'' (46:126).
L'Engle in her article "The Danger of Wearing Glass
Slippers" in Elementary English was even more emphatic.
The more limited our language is, the more limited

we are; the more limited the literature we give to
our children, the more limited their capacity to
respond, and, therefore, in their turn, to create.
The more our vocabulary is controlled (and the very
word controlled is a frightening one) the less we
will be able to think for ourselves (39:107).
Arbuthnot in Children and Books echoes the sentiments
of Richards and Houseman about words and meaning.
'But this is all wrong,' say the earnest pedagogues.

'It is dangerous to encourage children to respond to
words they do not understand. Words should convey
meaning.' Of course they should, but not all meaning
is factual. Sometimes words include a mood or feeling
35
which cannot be wholly accounted for by their literal

meanings but results from their sound, combined with
their associative meaning (3:160).
Controlled vocabulary, then, is not as important a
factor in determining the selection of poetry as might have
been guessed. Rather, it seems almost a minor consideration.
The second logical limitation in the problem of
selecting poetry to use with first grade is the generally
accepted concept of the limited experimental background of
the first grade child. Again, this seems less obvious when
one realizes the wide variety of vicarious experiences the
modern day child has had with television and movies. The
maturity of the emotional response to any experience, vicar-
ious or personal, seems a more valid limitation. But even
this limitation is modified by the understanding that the
experience need not be the same for all the readers or
listeners of any poem. As Wimsatt wrote after discussing
the many possible levels of interpretation of "La Belle Dame
Sans Merci," in a statement that is applicable to all poetry:
Each reader will experience the poem at his own

level of experience or at several. A good story poem
is like a stone thrown into a pond, into our minds,
where ever widening concentric circles of meaning
go out. • . (58:400)
36
So whatever the level of experience of the listener, each
person interprets in terms of his own experience.
An example of this wide range of interpretations
might well be shown in a discussion of E. E. Cummings
"Chanson Innocents" which is included in this anthology.
For convenience, it is repeated here:
Chanson Innocente
in Just
spring when the world is mud-
luscious the little
lame balloonman
whistles far and wee
and eddieandbill come

running from marbles and
piracies and it's
spring
when the world is puddle-wonderful

the queer
old balloonman whistles
far and wee
and bettyandisbel come dancing
from hop-scotch and jump-rope and
it's
spring
and
the
goat-footed
balloonMan whistles
far
and
wee (42: 324)
37
An adult reader or listener, aware that the "goat-
footed balloonman" is Pan, the Greek god of fertility who
plays upon a pipe of reeds, perhaps understands the poem at
the level intended by the author. Children, however, can
respond to and enjoy the imaginative use of language--"mud-
luscious, .. "puddle-wonderful," "eddieandbill," and "betty-
andisbel.rr The mention of nmarbles and piracies" and
"hop-scotch and jump-rope" will have meaning to them; they
may not notice, much less question that the boys are running
and the girls are dancing away from these activities. The
first-grader will respond to those elements that have mean-
ing for him; the adult may perceive a quite different
meaning in the same poem.
And who shall say that one is more "correct" than the
other? As T. S. Eliot wrote about the intellectual approach
to poetry that wrings and assigns every shred of meaning
from each word or image, an approach that he calls "the
lemon squeezer school of criticism:"
The first danger is that of assuming that there must

be just one interpretation of the poem as a whole, that
must be right. . • . The second danger . • . is that
of assuming that the interpretation of a poem, if valid,
is necessarily an account of what the author consciously
or unconsciously was trying to do (15:126).
38
That the child does respond is the important thing, that he
may not be responding in the same way or to the same ele-
ments as an adult might is unimportant.
Once a poem has become part of a child's experience,
even though his understanding or appreciation of it at first
might have been a response to the music and mood of the poem
and not to the meaning, it may be that later experiences are
enlightened by that same poem and that the poem itself gains
expanded meaning. Lewis put it this way:
Yet--and this is the point--it is not necessary to

understand the poem fully in order to be moved by it.
We may have enjoyed a poem for years, before we have
some experience in our own lives which gives us the
clue to its full meaning (40:72).
Rumer Godden also commented on this changing under-
standing through increased experience: ''A poem can change
mysteriously: sometimes it will seem to have nothing to
say at all, and then suddenly will shine out in its full
meaning" (21:169).
A third special consideration or limitation for first
grade mentioned in the statement of the problem is the
interests of children of that age.

39
Ray in her study using poetry as motivation for
painting discovered" • • • the four elements which usually
have special interest to children: surprise, action,
humor, and mystery" (53:57).
Another study entitled "Areas of Reading Interest
Demonstrated by 275 First-Grade Pupils" listed those reading
interests, in order of descending interest, as make believe,
happiness, humor, adventure, history, family, anxiety, and
today's world (56). Although reading independently is quite
a different thing from listening to poetry, there are clues
here that should be kept in mind.
The fourth special consideration or limitation
indicated is the short attention span of the first grade
child. It would seem only logical that this might be met
by presenting poems that are also short.
Where then does this place the first grade teacher
who is attempting to select poetry to present to her class?
Are there no limits or guide lines to help her?
Criterion I
First, the poem must give pleasure to both the first
graders and their teacher. Unless a teacher truly responds

40
to a poem she will be unable to kindle a response in her
pupils. "Pleasure" is an elastic word that may be expanded
to include responses other than pleasant awareness; it may
even be stretched to cover the hollow loneliness in Dorothy
Aldis' "When I Was Lost."
Underneath my belt
My stomach was a stone.
Sinking was the way I felt
And hollow.
And Alone. (6:117)
Shelley in his "A Defense of Poetry" gave this
expanded definition of the many shades of pleasure one may
receive from poetry:
It is difficult to define pleasure in its highest

sense, the definition involving a number of apparent
paradoxes. For, from an inexplicable defect of har-
mony in the constitution of human nature, the pain
of the inferior is frequently connected with the
pleasures of the superior portions of our being.
Sorrow, terror, anguish, despair itself, are often
the chosen expressions of an approximation to the
highest good. Our sympathy in tragic fiction depends
on this principle; tragedy delights by affording a
shadow of that pleasure which exists in pain. This
is the source also of the melancholy which is
inseparable from the sweetest melody. The pleasure
that is in sorrow is sweeter than the pleasure of
pleasure itself. • • ( 60: 35-36) •
Pleasure, then, can mean an intense emotional or even
physical response on the part of the listener or reader.

41
If the teacher truly understands and appreciates
poetry, this criterion of giving pleasure is all that need
be mentioned. The poets quoted earlier in the first sec-
tion of this chapter recognized pleasure both as a goal and
a test for poetry.
However, it is admitted that not all share this
assurance of their own good taste, so further points may
need to be examined.
Criterion II
Second, if there must be a second, the poem must have
musical language. This includes rhythm, without which there
is no poetry, rhyme, and all the other elements of sound and
sense. Definitions of these elements are a part of the next
chapter in this study.
I share with Patrick Groff the belief that most
poetry for first grade should have easily identifiable
rhyme.
Poetry is more difficult to understand without

rhymes. They assist the listener and reader to
grasp the total design of the poem. The use of
rhymes can make intelligible what otherwise could
be a baffling experience (23:762).
42
Rhyme has this additional advantage for a child--"it
appeal(s) to his relatively limited powers of attention"
(23:762).
Criterion III
Third, the poem must communicate some experience or
essence of experience that the child can share, but communi-
cate it in a way that is more than just observation.
Whether one chooses to call it heightened awareness,
expanded consciousness, enlightened apprehension, or
re-ordered experience, the desired effect upon the listener
is essentially the same.
Criterion IV
A fourth point that I consider vital, even though it
may be more difficult to defend and to apply, is that a poem
should speak to, not at, the listener. Too many poems
written for children seem to talk at them, as if from a
superior point of view, rather than to them, a person speak-
ing to persons (to paraphrase Wordsworth.)
This list could be expanded considerably, but that
would seem to defeat the purpose of this study. After

43
reviewing what poets, critics, and children's literature
specialists have written about identifying or recognizing
poetry, it seems that these four points are the essential
ones. Further listing and enumerating of specific qualities
would be more likely to build fences than to open gates.
IV. DEMONSTRATION OF APPLICATION
In order to demonstrate how those four criteria have
been applied in selecting poetry for the anthology, let us
examine briefly a poem that is not included.
TREES
Harry Behn
Trees are the kindest things I know,

They do no harm, they simply grow
And spread a shade for sleepy cows,

And gather birds among their boughs.
They give us fruit in leaves above,

And wood to make our houses of,
And leaves to burn on Hallowe'en,

And in the Spring new buds of green.
They are the first when day's begun

To touch the beams of morning sun,
They are the last to hold the light

When evening changes into night,
44
And when a moon floats on the sky

They hum a drowsy lullaby
Of sleepy children long ago .

Trees are the kindest things I know. (6:368)
First, and this is enough to eliminate it, this poem
does not give me pleasure and I doubt that it would give
pleasure to children.
Second, even though it does have a definite rhythm,
rhyme, and some other elements of musical language, the
total effect is monotonous rather than imaginative. The
rhyme is forced in several places--as "leaves above" with
"houses of" and "Hallowe'en" with "buds of green."
As one who has read Alexander Pope's "An Essay on
Criticism," I am aware here of not only the kind of cliche
Pope warned against, but also the same heroic couplet form
in which Pope wrote.
Third, even though I have shared the experiences
enumerated by the poet, his poem does not bring me any new
understanding or awareness of those experiences.
Fourth, he seems to be talking down to me. I just do
not believe him when he says "Trees are the kindest things I
know" and that causes me to doubt the sincerity of the poetic
experience that caused the poem to be written.

CHAPTER III
DEFINITIONS, ANTHOLOGY, AND EXPLICATION
Rather than including a list of defined terms earlier
in the study, the terms used in the explications are devel-
oped here as an integral part of the anthology.
I. DEFINITIONS
Rhythm
Certainly a necessary beginning to any discussion of
terms for poetry is some definition of that instinct recog-
nized by Aristotle. Essentially rhythm is a patterned
repetition of stress and time (65:137; 74:63; 8:562).
Rumer Godden said this about the relationship of
rhythm and poetry:
What it (poetry) says could not possibly be said

in prose because a poem has an intrinsic built-in
rhythm, which is why it is poetry. It is this rhythm
that makes it not only memorable but rememorable
(21:168).
Chad Walsh called rhythm "the most obvious character-
istic that distinguishes poetry from prose" (74:62).
Nina Willis Walter has this to say about the child's
awareness of rhythm in poetry:
I
46
We should not make of poetry an exercise in

scansion. . . • For rhythm is something that he feels
rather than something he knows about. Rhythm is a
natural manifestation of an emotional state, an
expression of an emotional consciousness (75:112).
Meter
Closely related to rhythm is the term meter. In the
discussion of poetry meter is used to mean the systemetized
repetition of stressed and unstressed syllables (65:139;
8:562).
According to Stageberg and Anderson, "meter performs
three functions in poetry: (1) it provides rhythmic
pleasure; (2) it controls tempo and movement; (3) it gives
emphasis to particular words" {65:146).
Meter, then, is an aspect of rhythm, but not the
whole of it.
verse and Free Verse
In Chapter Two of this study in a quote from Wood,
verse is defined as "words arranged with repetition in their
accent rhythm, which tends toward uniformity or regularity,
rather than toward variety" (78:3). Free verse, then, is
verse that does not conform to a pattern of uniformity or
regularity, either of rhythm or rhyme.

47
"Chanson Innocente" by E. E. Cummings, discussed
earlier in this study, is an example of free verse.
Rhyme
Rhyme is the correspondence or sameness of end sounds
of words. Brooks and Warren define rhyme as "the identity
in the rhyming words of the accented vowels and of all
consonants and vowels following" (8:565).
According to Stageberg and Anderson rhyme has three
functions in poetry: (1) "it provides musical pleasure,"
(2) "it sets off the lines," and (3) "it helps to bind the
poem together" (65:161).
Masculine rhyme. Sometimes the end rhyme is a single
syllable as in this short poem "A Big Turtle" by an unknown
author:
A big turtle sat on the end of a log,

Watching a tadpole turn into a frog. (6:79)
This single syllable rhyme is called masculine rhyme (74:95).
Feminine rhyme. Double rhyme involving two syllables,
the last of which is unaccented, is called feminine rhyme
(74:95). Among other characteristics of musical language,

48
the first three lines of the first stanza of Rhoda Bae-
meister's "Galoshes" exhibit this kind of feminine rhyme:
Susie's galoshes
Make splishes and sploshes
And slooshes and sloshes,
As Susie steps slowly
Along in the slush. (2:157)
Triple rhyme. Rhyme can also be triple, involving
three syllables. This is rarely used in anything but
humorous or nonsense verse (74:95). Although it is internal
rhyme rather than end-of-the-line rhyme, the use of "kickety,
rickety" in the fourth line from Rowena Bennett's "The Witch
of Willowby Wood" exhibits triple rhyme:
There once was a witch of Willowby Wood,

and a weird wild witch was she, with hair that
was snarled and hands that were gnarled, and a
kickety, rickety knee . . • (59:228-229).
The two unaccented syllables that follow the accented iden-
tical vowel contribute what might be called a humorous
rhythm to the line.
Slant rhyme. Not all rhyme need have the identity of
sound discussed above; it can be partial rhyme. Sometimes
there is just a correspondence of the final consonant
sounds, but not of accented vowel sounds, which may be

49
called slant rhyme. Emily Dickinson in "Snake" used this
kind of rhyme in the first stanza with the sound of the
letter "s":
A narrow fellow in the grass

Occasionally rides;
You may have met him,--did you not?
His notice sudden is. (70:467)
Slant rhyme may also be called consonance. "By the
usual rules of consonance any two words ending in stressed
vowels automatically consonate: me, day, construe, ago"
(74:95). In other words, rather than sharing the same
consonant after different accented vowels, they share the
lack of a consonant. The second stanza of Dorothy Aldis'
"Flies" has this kind of consonance or slant rhyme:
And I am quite certain

If I were a fly
I'd leave my home and go
Walk on the sky. (7:99)
There is masculine rhyme between "fly" and "sky", but "go"
is also a slant rhyme with them because of the accented
vowel 11
0
11
•
Bracket rhyme. Another type of partial rhyme is
bracket rhyme, in which uthe consonants before the stressed
vowels and everything after the stressed vowels are identical,

50
but the stressed vowels themselves are not the same: mile,
mull; retain, ton; seeing, saying" (74:96). The internal
rhyme (rhyme within a line) of the second line of "Galoshes"
exhibits bracket rhyme:
Susie's galoshes
Only the vowel is different in the words "splishes" and
"sploshes."
Rhyme, then, may be of many kinds. Most often it is
used to mean single syllable or masculine rhyme, double
syllable or feminine rhyme, or triple syllable rhyme.
Partial rhyme may be slant rhyme, or consonance, with iden-
tical consonants following different accented vowels. A
second type of partial rhyme is bracket rhyme, with identi-
cal consonants preceding and following different accented
vowels.
Consonance
Although Walsh uses the terms slant rhyme and
consonance interchangeably, consonance is also used by
others to indicate the repetition of a consonant in initial,
internal, or terminal positions. This second definition,

51
differentiating consonance from slant rhyme, is the one
applied in this study. These lines by Dorothy Aldis in
"Hiding" illustrate consonance as it is used here:
Then I laughed out aloud

And I wiggled my toes
And Father said--"Look, dear,
I wonder if those
Toes could be Benny's.
Both the letters "l" and "d" are repeated enough times to be
identified as consonance.
Alliteration
Repetition of beginning consonants has a term of its
own--alliteration. Valine Hobbs in "One Day When We Went
Walking" has used alliteration:
One day when we went walking,

I found a dragon's tooth,
A dreadful dragon's tooth,
"A locust thorn," said Ruth. (1:306)
The alliteration of the 11

w1 s 11
in the first line and the
"dr's" in the second and third lines adds to the dramatic
quality of the poem.
According to Stageberg and Anderson alliteration per-
forms two functions in poetry: (1) "it provides the aural
pleasure of repeated sounds," and (2) "it helps to structure

52
the poem" (65:114). They elaborate about the structuring of
a poem with alliteration:
This it accomplishes through the added emphasis that

alliterated words usually have. Such emphasis may
serve various purposes: 1. It may strengthen the
effect of the key words. . • . 2. It may call
attention to a contrast. • • . 3. It may link words
that are related in an image, thought, or feelings
(65:117).
Repetition of consonant sounds, then, may be either
consonance, with positioning anywhere in the words, or
alliteration, with the repetition as the initial sound of
the words.
Assonance
Repetition of a vowel sound is called assonance.
Chad Walsh calls it "the opposite of alliteration" (74:94).
"Mice" by Rose Fyleman has repetition of what many call
"long i" in the first two and last two lines:
I think mice
Are rather nice.
But I think mice

Are nice. (2:55)
Assonance of similarity. In addition to the most
frequently used definition of assonance already given,

53
Stageberg, and Anderson recognize three variations. One of
these variations is assonance of similarity, in which the
"vowe 1 sequence . moves along only a limited section
of the scale, as in
On that lone shore loud moans the sea." (65:122)
Stageburg and Anderson classified vowels by frequency
of vibration, but an equally valid and easier to demonstrate
method is by the location within the mouth where the vowel
sound is formed. The following chart showing placement is
adapted from Robertson and Cassidy's The Development of
Modern English:
Front Center
beet boot
High bit foot
bait schwa, as in boat

Mid bet tub.§!_ bought
but
Low fairy doll

bat aunt (not ant) bar
The chart may be read counter-clockwise from "beet"
at high front to "boot" at high back to indicate high to low
frequency of vibration.
54
One can demonstrate this kind of proximity by saying
or mouthing the vowel sounds.
The chart does not include the vowel diphthongs that
are the combination of two vowel sounds in one syllable.
The vowel diphthongs are found in these words:
buy--the vowels of aunt (not ant) and bit
bough--the vowels of aunt (not ant) and foot
boy--the vowels of boat and bit
few--the vowels of bit and boot
bay--the vowels of bait and bit
blow--boat plus foot (55:75)
The diphthongs also may be demonstrated by mouthing or
saying.
Assonance of similarity may be found in this stanza of
"wishes" by Rose Fyleman, particularly in the first two and
the last lines:
I wish I liked rice pudding,

I wish I were a twin,
I wish someday a real live fairy
Would just come walking in. (19:33)
Except for "would", all vowels sounds are made well forward
in the mouth.
55
Assonance of contrast. A second variation of
assonance is assonance of contrast, in which "a series of
contrasted vowels {are) chosen from the top and bottom of
tpe vowel scale, . . • as in noon-day dreams and sedate and
slow and ~" {65:112). Assonance of contrast may be found
in Heinrich Heine's "A Pine Tree Stands So Lonely":
A pine tree stands so lonely

In the North where the high winds blow,
He sleeps; and the whitest blanket
Wraps him in ice and snow. (27:734)
Most of the vowels are made well forward in the mouth, so
the "'long o" sound in "so, " "lonely," "blow," and "snow"
made at the back adds emphasis to those words and heightens
the effect they have upon the reader.
Assonance of pattern. The third variation is
assonance of pattern in which "the arrangement of assonated
vowels {is) in a fairly definite patterning, as in
Shakespeare's
Making their tomb the womb wherein they grew."

{65:122)
To some degree assonance of pattern may be found in these
lines from "Snake" by Emily Dickinson:
He likes a boggy acre

A floor too cool for corn. (70:467)
56
So assonance, too, may be of more than one kind.
Whether it is the common variety, assonance of similarity,
assonance of contrast, or assonance of pattern, the effect
on the reader or listener is one of pleasure.
One of the functions of assonance in poetry is to

furnish musical pleasure. From the psychology of
music it is known that musical tone is a direct
emotional stimulus, setting up in the body the physical
changes that underlie or accompany emotion. Such an
affective condition caused by tonal stimulation is a
general mood. In poetry this mood can be transformed
into more specific feelings by the meanings of the
words and their connotative and emotive charge. This
emotional power possessed by the vowels of poetry, as
musical tones, can be intensified by repetition
( 65: 120-121) .
Cacophony
Before going on to the use of words in poetry, two
other elements of sound that affect the rhythm of the poem
and the emotions of the listener or reader should be dis-
cussed. An important element of the sound of consonants is
cacophony, the effect of consonants "which cause(s) a strain
in pronunciation and a slowing of rhythmical tempo" (8:564).
Consonants that contribute to cacophony are all the stops
(b, p, d, t, g, and k) and the affricates (the j in judge
and the ch in church.) The first stanza of Tennyson's "The
Eagle" is a good example of cacophony:

57
He clasps the crag with crooked hands;

Close to the sun in lonely lands,
Ringed with the azure world, he stands. (70:345)
The forced pauses caused by the very nature of the conso-
nants contribute to the mood and meaning of the poem.
Euphony
In contrast to cacophony is euphony, which contri-
butes ease and smoothness to the sound and sense of the
poem. The nasals (m, n, and ng), the glides (r, y, and w),
and the lateral (1) all contribute to euphony, in which
"consonant combinations easily pronounced give a sense of
ease and tend to speed up the rhythmical tempo" (8:564;
55:59). Emily Dickinson's "Morning" demonstrates euphony:
Will there really be a morning?

Is there such a thing as day?
Could I see it from the mountains
If I were tall as they?
Has it feet like water lilies?
Has it feathers like a bird:
Is it brought from famous countries
Of which I've never heard?
Oh some scholar, oh some sailor,
Oh some wise man from the skies,
Please to tell a little pilgrim
Where the place called morning lies. (57:129)
All the "m's," "n's," "l's," and "r's" contribute to the
ease and smoothness of the poem.

58
It must be remembered through all of this discussion
of the contribution of sound to meaning that it is a com-
bination of sound and meaning that affects the listener.
"Murmur" and "murder" may sound a great deal alike, but the
meaning is far different, and so the effect upon the
listener is different. "Murmur" may sound soft and loving,
but "murder" sounds sinister and threatening.
Also, the discussion does not mean to say that the
poet contrives the patterns in an intellectual (as opposed
to emotional or senqory) act of composition. As Stageberg
and Anderson wrote about alliteration, in a statement that
is equally true of the other elements of sound:
Our study of alliterative patterns, however, does

not imply that the poet deliberately chooses parti-
cular patterns in creating his verse. On the con-
trary, the poet writes by ear, adjusting his words
until the total sequence of sounds represents the
aural effects that he desires (65:114).
Repetition
To this point the term repetition has been used only
in connection with separate elements of sound, but it is a
device that is used also with words, phrases, and complete
lines.
59
The first two stanzas of "Reeds of Innocence" by
Blake illustrate the repetition of a word:
Piping down the valleys wild,

Piping songs of pleasant glee,
On a cloud I saw a child,
And he laughing said to me.
'Pipe a song about a Lamb!'

So I piped with merry cheer.
'Piper, pipe that song again;'
So I piped: he wept to hear. (50:329)
The various forms of the word "pipe" share the emphasis and
rhythm gained by repetition.
Repetition of a phrase occurs in Marchette Chute's
"Presents":
I wanted a rifle for Christmas,

I wanted a bat and a ball,
I wanted some skates and a bicycle,
But I didn't want mittens at all.
I wanted a whistle
And I wanted a kite,
I wanted a pocketknife
That shut up tight.
I wanted some boots
And I wanted a kit,
But I didn't want mittens one little bit!
I told them I didn't like mittens,

I told them as plain as plain.
I told them I didn't WANT mittens,
And they've given me mittens again! (1:306)
60
The accumulative effect of the "I wanted's" together with
the "I told them's" helps us understand the emotion, the
disappointment, in the poem.
Repetition of a whole line can be seen in "Tired
Tim" by Walter de la Mare:
Poor tired Tim~ It's sad for him.

He lags the long bright morning through,
Ever so tired of nothing to do;
He moons and mopes the livelong day,
Nothing to think about, nothing to say;
Up to bed with his candle to creep,
Too tired to yawn, too tired to sleep:
Poor tired Tim! It's sad for him. (2:6)
Even though the first and last lines are the same, our
sympathy for Tim is changed as we understand what it is that
is "sad for him." The two lines say the same thing, but
they do not mean the same thing.
Imagery
We come finally to the words used in poetry and the
ideas and emotions that the words convey. Imagery is "the
representation in poetry of any sense experience" (8:555).
The image may be felt by any of the five senses--sight,
hearing, smell, taste, and touch--plus two others that are
indicated by Chad Walsh: "the thermal sense (ability to

61
distinguish differences in temperature) and the kinesthetic
sense (ability to feel bodily tensions, as when you lift a
heavy weight)" (74: 29) .
Although it also uses another specific kind of
imagery, "First Snow" by Marie Louise Allen is essentially
visual imagery, appealing to the sense of sight:
Snow makes whiteness where it falls,

The bushes look like popcorn-balls.
The places where I always play,
Look like somewhere else today. (6:333)
Anyone who has ever seen the first snow fall of the year
will recall and be able to visualize that scene.
The imagery that affects the sense of hearing may be
felt in Bacmeister's "Galoshes" quoted earlier, but repeated
here in full for convenience:
Susie's galoshes
Along in the slush.
They stamp and they tramp

On the ice and concrete,
They get stuck in the muck and the mud;
But Susie likes much best to hear
The slippery slush

As it slooshes and sloshes,
And splishes and sploshes,
All round her galoshes. (2:157)
62
One can almost hear the child walking in the slush, in the
mud, on the hard ice and concrete, and in the slush once
again.
The sense of smell is appealed to by the imagery in
Zhenya Gay's "The World Is Full of Wonderful Smells":
The world is full of wonderful smells,

And you have a nose that always tells
Of bread in the oven, hot and nice,
Of cake being baked with lots of spice,
Of a barn with fresh-cut hay in the mows,
Of horses and pigs and cats and cows,
Of a dog when he's warm and he's in the sun,
Of applesauce and chocolate and a sugar bun.
Wouldn't it be dreadful if you'd no nose to tell
Of every wonderful, wonderful smell? (2:105)
The poem is almost a catalog of smells, not just those that
are usually considered wonderful.
The sense of taste is affected in the first stanza of
Emily Dickinson's "A Bird":
A bird came down the walk;

He did not know I saw;
He bit an angle worm in halves
And ate the fellow, raw. (2:53)
Eating a raw angle worm, even by halves, is hardly appealing
to us.
The sense of touch is aroused by the imagery of John
Ciardi's "Rain Sizes." The first stanza is adequate for
illustration:
63
Rain comes in various sizes.

Some rain is as small as a mist.
It tickles your face with surprises,
And tingles as if you'd been kissed. (6:112)
Thermal imagery& the communication of temperature,
is found in 11
A Pine Tree Stands So Lonely" by Heine. The
contribution of the vowel sounds to the effect of the poem
on the reader has already been noted:

Wraps him in ice and snow.
He dreams--dreams of a palm tree

That far in an Orient land,
Languishes, lonely and drooping,
Upon the burning sand. (27:734)
The poem communicates both the cold felt by the pine tree
and the heat felt by the palm.
Kinesthetic imagery, the communication of bodily
tension, is found in "A Swing Song" by Willian Allingham.
The first two stanzas are adequate for illustration:
Swing, swing,
Sing, sing,
Here! my throne and I am a king!
Swing, sing,
Swing, sing,
Farewell, earth, for I'm on the wing!
64
Low, high,
Here I fly,
Like a bird through sunny sky;
Free, free,
Over the lea,
Over the mountain, over the sea!
Anyone who has ever ridden in a swing gets caught up in the
rhythm of the poem that recalls the rhythm of swinging, and
involuntarily begins the feel of "pumping" to make the swing
go.
Figurative Language
The imagery discussed to this point has resulted from
description or from other elements inherent in the poem.
Sometimes poets use a more direct means of imagery, a more
direct statement of the idea to be conveyed. Such more
direct comparisons are called figurative language.
Simile. A simile is the most direct kind of figura-
tive language, as it makes a stated comparison using either
"like" or "as." The second line of Allen's "The First
Snow," quoted earlier in the discussion of visual imagery,
is a simile: "The bushes look like popcorn balls" (6: 333) •
Metaphor. Metaphor is a type of figurative language
in which the comparison is implied by identifying two things

65
with each other. Dorothy Aldis used metaphor in "Brooms"
to compare trees in the rain with brooms in the scrub
bucket:
On stormy days,
When the wind is high
Tall trees are brooms
Sweeping the sky.
They swish their branches

In buckets of rain,
And swash and sweep it
Blue again. (51:126)
The trees ~brooms; metaphor compares by saying that one
thing is the other.
Personification. A special type of metaphor that
attributes human characteristics to an idea or a thing is
called personification (65:69). In "The Moon's the North
Wind's Cooky" Vachel Lindsay personified wind:
The Moon's the North Wind's cooky,

He bites it, day by day,
Until there's but a rim of scraps
That crumble all away.
The South Wind is a baker.

He kneads clouds in his den.
And bakes a crisp new moon that--greedy
North--Wind--eats--again!
This technique enabled the poet to give new meaning to a
natural phenomena.
66
Symbol. Closely related to the use of metaphor is
the use of symbols. A metaphor, or other figurative
language, adds to meaning by pointing out "the before
unapprehended relations of things" (60:4). A symbol, like
a metaphor, involves two things, but "a symbol may be
regarded as a metaphor from which the first term has been
omitted" (8:556). Symbols are things that remind us of
something else, as the cross symbolizes Christianity or the
flag the nation. "Symbols, then, are 'signs' pointing to
meaning" (8:556).
For me, this short poem "Secrets~ by Robert Frost has
symbolism:
We dance round in a ring and suppose,

But the Secret sits in the middle and knows.
(74:218)
"We" of course is all of us humans; "the Secret" may be God
or whatever Creator or omniscient Being one recognizes. The
symbol which points to meaning is "the ring." What is the
ring? For a child it might suggest a circle game. To me
it seems to be the cyclic nature of life: up in the morning,
to bed at night, only to get up and do it all over again the
next morning. On an expanded time scale it is the whole of
human life: we are born, we live, we have children, we die.

67
But it does not end with us because the children have
children, and around the ring they go. So what we "suppose"
and the Secret "knows" is the use of or reason for con-
tinuing to dance around our ring. This poem says to me that
we do not know the real meaning of life, and we probably
will not ever know it.
The several kinds of figurative language contribute
much to the total meaning of any poem. Stageberg and
Anderson used figurative language to reveal the inter-rela-
tionship:
Poetry is written in a language which makes ample

use of figures of speech. Such figures, however, are
seldom merely ornamental, like gargoyles on a Gothic
cathedral, but instead form an integral part of what
the poet has to say. They are more like the arched
windows encased in stone, giving essential support to
the structure and illuminating the interior with light
and color (65:66).
A more current comparison might be that figurative language
is not the frosting on the cake, it is instead the eggs that
are added to the box of cake mix to enable it to become a
cake.
Theme
In order to discuss poetry, the term theme needs to
be understood. The theme of a poem is what the poem is

68
about, the "basic attitude or idea presented in the poem"
(8:560). The theme is more than the subject of a poem, but
something other than a simplified statement of a moral
message received through the poem. "The theme does not give
the poem its force; the poem gives the theme its force"
(8:46). For example, in Lindsay's poem "The Moon's the
North Wind's Cooky" it might be said that the theme is the
regularity of flux and change.
Related to theme, but separate from it, is tone.
Tone is to poetry what stress and intonation are to speech.
It results from many elements within the poem.
Every poem has a particular tone--the attitude

(usually implied, rather than stated) of the poet
toward his subject matter and the reader. It may
be light-hearted or solemn, intimate or formal,
humorous or serious, personal or impersonal (74:56).
To return to Lindsay's poem for an example, it could be said
that the tone is calm acceptance.
So theme is what the poem is about and tone is the
attitude of the speaker (the voice of the poem) towards that
theme.
69
Denotation
Understanding of two other terms that contribute to
the subtlety of meaning possible in poetry is also required
--denotation and connotation.
Denotation refers to the definition of a word, "what
it refers to, stands for or designates, apart from the
feelings it may call up" (65:41). The denotation of the
word "mother" is then a female who has had offspring.
Connotation
But words carry more meaning than that denoted, they
also come to mean to us the emotions or situations of which
they have been a part. Thus, "mother" means to most of us
the loving security of childhood and recalls to us the way
we feel about our mothers. To a person whose mother
abandoned him in a garbage can and did not intend him to be
found in time to live, "mother" stirs very different emo-
tions and memories. "This aspect of words we are discussing--
their flavor, emotive tone, clusters of associations, the
vague memories they conjure up--is called connotation"
(65:41). Connotation can be directed, focused at a choice
of the many possible meanings, by context.

70
Stanza
The term stanza has been used in several of the
definitions, so perhaps it, too, should be clarified. It
has been used to mean a section of the poem set apart by
spacing. Many other elements can influence the recognition
of a stanza, such as rhyme scheme or number of lines, but
for the purposes of this study spacing alone is identifica-
tion enough.
Heroic Couplet
In the discussion of the negative choice poem "Trees"
by Harry Behn, the term "heroic couplet" was used.
Technically, the term identifies a stanza form that is
adjacent rhyming lines of iambic pentameter. Iambic refers
to an unaccented syllable followed by an accented one and
pentameter means simply that there are five such iambs to a
line. Usually, but not always, a heroic couplet contains a
complete thought even though it is part of a larger whole.
This is not an exhaustive list of the many terms
available to the discussion of poetry. It is rather a list
of the terms used in this study, as they are used. These are
71
the concepts about poetry that I regard as important to
understanding and appreciation.
Even though the techniques and devices of poetry may
be defined and illustrated, the identification of those
separate elements is not an end to itself. Rather, it is
understanding how the separate identifiable elements contri-
bute to the whole that is the poem. "The poetic effect
depends not on the things themselves but on the kind of use
the poet makes of them" (8:16).
II. ANTHOLOGY AND EXPLICATION
The poems in this anthology have been selected using
the criteria established by this study. Because the poems
were chosen for what they ~, they may now be arranged by
what they are about.
The classifications overlap in some cases, while in
other instances a poem could be included in more than one
category. Some poems very nearly defy classification. The
classifications designated are those that would seem to be of
most value or assistance to the first grade teacher.
To reiterate a limitation of this study, the comments
about the poems are intended for the teacher, so that by

72
increased understanding or heightened awareness of the tech-
nique as a part of the whole she may be more effective in
using the poems in the classroom. None of the analyses in
the explications is intended to be shared with the first
grade pupil.
Of course, not every occurrence of musical language,
figurative speech, or imagery was cited. Rather, an effort
was made to identify those elements, which could be called
techniques or devices, that contribute most pleasure to the
sound and sense of each poem.
This kind of choice is by nature highly personal and
not truly objective. The appreciation of poetry is a
response to the factors that one recognizes, sometimes only
instinctively and sub-consciously. The goal of the comments
is to make the teacher more conscious of those elements to
which she and her students do respond.

73
Wind and Weather
BROOMS
Dorothy Aldis
On stormy days
When the wind is high
Tall trees are brooms
Sweeping the sky.
They swish their branches

In buckets of rain,
And swash and sweep it
Blue again. (51:126)
The metaphor in this poem, comparing trees in the
rain to brooms in the scrub bucket, has already been indi-
cated in the definitions section of this study. The appeal
is largely to visual imagery, but the alliteration of "sw"
in "sweeping," "swish," "swash," and "sweep" very nearly has
the effect of an image that can be heard.
Even though "rain" and "again" might be pronounced
with different vowels, they are still in the form of partial
rhyme called slant rhyme.

74
RAIN
Robert Louis Stevenson
The rain is raining all around,

It falls on field and tree,
It rains on the umbrellas here
And on the ships at sea. {6:312)
The child's wish to be a part of things he has not
yet experienced personally, only vicariously, is suggested
in this poem. The fact that the same rain that falls on an
ordinary umbrella here falls also on a far away ship makes
the one holding the umbrella a kind of kindred soul with
those on the ship.
In another sense, the poem indicates that there are
things that happen that are beyond control. The rain, after
all, falls without discrimination on both natural elements,
"field and tree," and on man made things, the relatively
simple "umbrella" and the complex "ship."
The visual image of the rain is reinforced by the
repetition of that word.

75
THE SKY IS LOW
Emily Dickinson
The sky is low, the clouds are mean,

A travelling flake of snow
Across a barn or through a rut
Debates if it will go.
A narrow wind complains all day

How someone treated him;
Nature, like us, is sometimes caught
Without her diadem. (33:1213)
Various aspects of nature are personified in this
poem. If "low" is taken to mean low-spirited rather than
as in opposition to high and clear, then it, too, is one of
the several manifestations of ill-humor observed. "The
clouds are mean," the snow is undecided, the wind is com-
plaining, and "the sky is low.'' Nature's "diadem," her
symbolic crown of royal power, sometimes slips off, and
so she is, as we are, not always in the best possible mood.

76
VERY LOVELY
Rose Fyleman
Wouldn't it be lovely if the rain came down

Till the water was quite high over all the town?
If the cabs and buses all were set afloat,
And we had to go to school in a little boat?
Wouldn't it be lovely if it still should pour

And we all went up to live on the second floor?
If we saw the butcher sailing up the hill,
And we took the letters in at the window sill?
It's been raining, raining, all the afternoon;

All these things might happen really very soon.
If we woke tomorrow and found they had begun,
Wouldn't it be glorious? Wouldn't it be fun?
(6:315)
Obviously this is a child's view of a flood, con-
sidering as "lovely" all the unusual circumstances that a
flood would present. The repetition of "wouldn't it be
lovely if" and then just irwouldn't it be" help us to know
that the voice of the poem is not really serious. It is
playing with imagination. The reader or listener is caught
up in the game by the use of direct questions.

77
RAIN SIZES
John Ciardi
Rain comes in various sizes.

Some rain is as small as a mist.
It tickles your face with surprises,
And tingles as if you'd been kissed.
Some rain is the size of a sprinkle

And doesn't put out all the sun.
You can see the drops sparkle and twinkle,
And a rainbow comes out when it's done.
Some rain is as big as a nickle

And comes with a crash and a hiss.
It comes down too heavy to tickle.
It's more like a splash than a kiss.
When it rains the right size and you're wrapped in

Your rainclothes, it's fun out of doors.
But run home before you get trapped in
The big rain that rattles and roars. (6:112)
This poem about progressively larger degrees of rain
uses several kinds of imagery to impress the different ef-
fects of the different kinds of rain.
The touch imagery of suggesting that a "mist" is like
a kiss has already been noted in the definitions section in
the discussion of the different kinds of imagery.

78
The second stanza is visual imagery, reminding the
reader of the "sparkle" and "twinkle" of the rain in the
sun. The third, "too heavy to tickle," is imagery that
appeals to hearing: "It comes with a crash and a hiss."
The fourth, "that rattles and roars," might be said to
suggest kinesthetic imagery as when the thunder sounds and
the lightening strikes we feel the vibration through our
bodies.
It is interesting to note that in each stanza one
rhyming pair is single syllable rhyme and the other pair is
double syllable rhyme.

79
WHITE SHEEP, WHITE SHEEP
Anonymous
White sheep, white sheep,

On a blue hill,
When the wind stops
You all stand still.
When the wind blows
You walk away slow.
White sheep, white sheep,
Where do you go? (2:156)
Sometimes attributed to Christina Rossetti, this poem
is about clouds without ever mentioning them. The use of
metaphor, calling the clouds seen against the far hill
sheep, is rather like the child's game of finding familiar
figures in the clouds. The appeal is visual imagery.
The conversational quality of the poem is achieved by
speaking directly to the "white sheep." We wonder, too,
"where do you go?"
Repetition of the phrases "white sheep" and "when the
wind," and the alliteration of "stops" with "stand still"
and "wind" with "walk away" contribute to the communication
of music and movement by the poem.

80
WIND ON THE HILL
A. A. Milne
No one can tell me,

Nobody knows,
Where the wind comes from,
Where the wind goes.
It's flying from somewhere

As fast as it can,
I couldn't keep up with it,
Not if I ran.
But if I stopped holding

The string of my kite
It would blow with the wind
For a day and a night.
And then when I found it,

Wherever it blew,
I should know that the wind
Had been going there too.
So then I could tell them

Where the wind goes . . .
But where the wind comes from
Nobody knows. (47:93)
81
The wish to understand the world we live in is the
theme of this poem. The little boy can think of a way to
find an answer to one of his questions, but the other re-
mains a mystery.
Repetition of "where the wind" and "nobody knows"
emphasize that mystery. The assonance in the repeated sound

11
0 11
in "no," "goes," "nobody," and "knows" accents those
words and adds to the mystery.

82
WHO HAS SEEN THE WIND?
Christina Rossetti
Who has seen the wind?

Neither I nor you:
But when the leaves hang trembling
The wind is passing thro'.
Who has seen the wind?

Neither you nor I:
But when the trees bow down their heads
The wind is passing by. (2:153)
This poem seems to say that we do not always need to
see things in order to know that they are there. The con-
versational tone directly involves the reader or listener by
directing the question at him.
To achieve rhyme the "I" and "you" of the second lines
of both stanzas are transposed. This transposition seems to
emphasize our mutual lack of knowledge.

83
0 WIND, WHY DO YOU NEVER REST
Christina Rossetti
O wind, why do you never rest,

Wandering, whistling to and fro,
Bringing rain out of the west,
From the dim north bringing snow?
(2:156)
This four line poem is a question directed at the
wind. The repetition of the sound of "w" in "wind," "why,"
"wandering," "whistling," and "west" is suggestive of the
sound of the wind. The euphony of the repeated consonants
"w, •• "m," "n," "ng, ,.. and "r" suggest the apparent ease and
lack of effort with which the wind moves. The result is very
nearly imagery that appeals to our sense of hearing.

84
THE WIND
Robert Louis Stevenson
I saw you toss the kites on high

And blow the birds about the sky;
And all around I heard you pass,
Like ladies' skirts across the grass--
0 wind, a-blowing all day long,
O wind, that sings so loud a song!
I saw the different things you did,

But always you yourself you hid.
I felt you push, I heard you call,
I could not see yourself at all--
0 wind, a-blowing all day long,
O wind, that sings so loud a song!
O you that are so strong and cold,

O blower, are you young or old?
Are you a beast of field and tree,
Or just a stronger child than me?
O wind, a-blowing all day long,
0 wind, that sings so loud a song! (51:124)
In this poem the wind is addressed directly, even
though it is known only by its actions. The child seeks to
relate what he does not know to himself, and so wonders if
the wind is ,,.just a stronger child than me."
Repetition of the last two lines of each stanza adds
to the musical effect of the poem.

85
WIND SONG
Carl Sandburg
Long ago I learned how to sleep,

In an old apple orchard where the wind swept by
counting its money and throwing it away,
In a wind-gaunt orchard where the limbs forked out
and listened or never listened at all
In a passel of trees where the branches trapped the
wind into whistling, "who, who are you?"
I slept with my head in an elbow on a summer after-
noon and there I took a sleep lesson.
There I went away saying; I know why they sleep,
I know how they trap the tricky winds.
Long ago I learned how to listen to the singing wind
and how to forget and how to hear the deep whine,
Slapping and lapsing under the day blue and the night stars:
Who, who are you?
Who can ever forget

listening to the wind go by
counting its money
and throwing it away? (33: 1649)
This free verse poem should be used late in the
school year after the children have had considerable
experience with poetry.
Children will be interested in the idea of sleeping
in a tree and in the ridiculous thought of the wind having
money and throwing it away.

86
Euphony results from the many repetitions of "l,"
"n," and "r" as in the first line: "Long ago I learned how
to sleep." The poem moves slowly and easily.
The juxtaposition of the consonants in "slapping"
and "lapsing" produces an interesting kind of consonance.
The true meaning of this poem may elude me, but it
does produce in me a mood that thinks it understands. It
would seem that the children would experience this same kind
of intuitive understanding also.

87
DOWN! DOWN!
Eleanor Farjeon
Down, down!
Yellow and brown
The leaves are falling over the town.
(2:174)
This is visual imagery; we see the colorful leaves
floating from the trees.
It is interesting to notice that in the poem the
leaves are falling "over the town" rather than on the ground
or from the tree. One receives an image of a town blanketed
by leaves.
There is assonance of contrast between "leaves" and
the vowel sound of "down," "brown," and "town,."' The vowel
of "leaves" is made high in the front of the mouth and the
diphthong of "town" ends high back in the mouth.

88
SUMMERS END
Lillian Moore
I see the summer birds fly south

Now that the days are cool.
Do they look down and see that I
Am on my way to school? (48:10)
There are several instances of assonance of similarity
in this short poem. The vowel diphthong of "south 1 " "now,"
and "down" ends on the same vowel sound as in "look." The
vowel sound of "cool," "do," "to," and "school" is also high
and back, but not identical with that of "look."
Assonance of contrast is found between all those high
back vowels and the front vowels in "see," "days," and
"way."
The child's concentration with self is expressed in
this poem; he thinks in terms of himself even in the migra-
tion of birds. He has noticed them; do they notice him?

89
FIRST SNOW
Marie Louise Allen
Snow makes whiteness where it falls.

The bushes look like popcorn-balls.
The places where I always play,
Look like somewhere else today. (6:333)
As indicated earlier in the definitions section, this
short poem is visual imagery and has the simile "bushes look
like popcorn-balls." Each of the lines contains allitera-
tion ("whiteness where," "bushes look like . . • balls,"
"places • • . play" and "look like") that adds to the
musical effect of the poem.
The poem seems to be a comment on how things can
change, so that even the very familiar can become strange.
It does not say that this kind of change is either good or
bad, simply that it is.

90
A PINE TREE STANDS SO LONELY
Heinrich Heine

Wraps him in ice and snow.
He dreams--dreams of a palm tree

That far in an Orient land,
Languishes, lonely and drooping,
Upon the burning sand. (27:734)
This moving poem has been cited both in the discus-
sion of the quality of assonance of contrast and in the
comments on thermal imagery. It could also have been
mentioned for euphony (as in "far in an Orient Land") and
alliteration (as in "land," "languishes," and "lonely") •
This poem is a comment on the nature of life. It
says that neither extreme of any condition is a comfortable
one. It shows that we can not know how it is in that far
off place to which we would like to run. That place, that
condition, are likely to be as lonely as the place where we
are now.
91
WINTER
William Shakespeare
When icicles hang by the wall

And Dick the shepherd blows his nail,
And Tom bears logs into the hall,
And milk comes frozen home in pail;
When blood is nipt, and ways be foul,
Then nightly sings the staring owl
Tuwhoo!
Tuwhit! tuwhoo! A merry note!
While greasy Joan doth keel the pot.
When all aloud the wind doth blow,

And coughing drowns the parson's saw,
And birds sit brooding in the snow,
And Marian's nose looks red and raw;
When roasted crabs hiss in the bowl--
Then nightly sings the staring owl
Tuwhoo!
Tuwhit! tuwhoo! A merry note!
While greasy Joan doth keel the pot. (50:16)
Many of the inconveniences of winter are indicated in
this poem, some of which the children may not understand be-
cause of the rarely used words. "Saw" in "the parson's
saw" does not mean that he is cutting wood, rather that he
is tiresomely repeating something he has said many times
before. "Keel," what "greasy Joan" is doing to the pot,
means to prevent boiling over by skimming. "Keel the pot"
means something like "skim the soup."

92
The children will respond to the rhythm and rhyme,
to the sound made by the owl, and to most of the examples
of winter discomfort. "Greasy Joan" will be thought amus-
ing.
93
THE SNOW MAN
Mildred Plew Meigs
One day the snow man, Sir Benjamin Buzz,

He started to melt as a snow man does.
Down ran the crown of his icicled hat

Over his forehead and right after that
He noticed his whiskers go lolloping by

Along with his chin and his collar and tie.
Then Benjamin looked and saw that his chest

Was gliding away through his coat and his vest,
And after a little he sighed, "Ho! Hum!

There goes a finger and there goes a thumb!"
And scarce had he spoken when Benjamin felt

That both of his legs were beginning to melt;
Down they ran dribbling, bit after bit,

Like two creamy candles a sunbeam had lit.
"Alas," cried Sir Ben, "I am merely a bump!"

And the next thing he knew he sat down with a thump.
Then little by little he slipped like a sleigh,

And quietly, quietly slithered away:
And next when he noticed the spot he was on,

He looked for himself and he saw he was gone.
And that is the story of Benjamin Buzz,

Who melted one day as a snow man does. (66:73)
94
The theme of this poem seems to me to be the inevita-
bility of flux and change. The tone is that of good-natured
acceptance.
The rhyme is masculine in all instances except "on"
with "gone," and then it is slant rhyme. The word "lollop-
ing" is especially descriptive and imaginative. It suggests
"galloping" while at the same time suggesting a more gradual
and smoother movement with the beginning sound of "l."
There is a paradox in these lines: "And then he next
noticed the spot he was on/He looked for himself and saw he
was gone." If he were really gone, how could he see? Will
we, too, be able to see when we are gone?

95
CHANSON INNOCENTE
E. E. Currunings
in Just
spring when the world is mud-
luscious the little
lame balloonman
whistles far and wee
and eddieandbill come

running from marbles and
piracies and it's
spring
when the world is puddle-wonderful
the queer
old balloonman whistles
far and wee
and bettyandisbel come dancing
from hop-scotch and jump-rope and
it's
spring
and
the
goat-footed
balloonMan whistles
far
and
wee (42:324)
96
This free verse poem was mentioned earlier in the
discussion about levels of meaning based upon experience.
It was suggested that children would respond to the imagin-
ative use of language ("mud-luscious" and "puddle-wonderful")
and the mention of games. For them, the balloonman will be
like the balloon vendor at the county fair and carnival.
"The little lame balloonman" is really Pan, the part
animal Greek god of fertility who plays upon a pipe.
Whether the "balloon" that makes him a "balloonman" is part
of the bag-pipe that he plays upon (which I doubt as his
pipe was of reeds) or is the natural result of his influence
on earthly creatures, I cannot decide. For me the ambiguity
adds to meaning.
The poet has used several kinds of assonance. Adja-
cent identical vowel sounds occur in "mud-luscious," "puddle-
wonderful," and "hop-scotch." Assonance of contrast is
found in "far and wee" in which the vowel moves from low
back to high front. Assonance of similarity is found in
"eddieandbill" and "bettyandisbel" with all vowels being
formed at the front of the mouth.
Spacing on the page is an important factor in this
poem as it helps the reader interpret the phrasing and
rhythm intended by the poet.

97
SMALL SONG
Frances Frost
Morning is a little lass,

Her gay head yellow-curled,
Who jumps a rope of knotted flowers
Across the waking world.
Evening is a little boy

With dark wind-ruffled hair,
Who skips the stars like stones across
The darkling pond of air. (59:174)
Morning and evening are personified in this poem,
giving us a new way to think about those regular occurrences.
The consonance of the letter "s" in "skips the stars
like stones across" causes us to focus on that image.

98
MORNING
Emily Dickinson
Will there really be a morning?

Is there such a thing as day?
Could I see it from the mountains
If I were tall as they?
Has it feet like water lilies?
Has it feathers like a bird?
Is it brought from famous countries
Of which I've never heard?
Oh some scholar, oh some sailor,
Oh some wise man from the skies,
Please to tell a little pilgrim
Where the place called morning lies. (57:129)
The euphonious effects of all the repetitions of "m,"
"n," "r," and "l" was cited earlier in the definition of
euphony.
The conversational effect of the questions directed
at the reader serve to involve him in answering those ques-
tions. The answer, however, is as unknown to us as to the
poet.
The unknown is related to the known in each of the
questions, but in full realization, it seems, that "morning"
is unlike any of the suggested comparisons.

99
The poet refers to herself as a pilgrim, a strange
concept to relate to the near-recluse that we know she was.
In a sense, though, she was a traveler, a wanderer, through
life, as we all are. "Pilgrim" suggests the journey in
"Pilgrim's Progress," and so in a word alludes to all the
trials and temptations of life.

100
THERE ISN'T TIME
Eleanor Farjeon
There isn't time, there isn't time

To do the things I want to do,
With all the mountain-tops to climb,
And all the woods to wander through,
And all the seas to sail upon,
And everywhere there is to go,
And all the people, every one
Who lives upon the earth, to know.
There's only time, there's only time
To know a few, and do a few,
And then sit down and make a rhyme
About the rest I want to do. (59:160)
The limitations of time on the experiences of life
seems to be the theme of this poem. The poet indicates that
as a poet she has a way of coping with, if not overcoming,
those limitations. As readers of poetry, perhaps our
limitations are expanded too.

101
BEDTIME
Eleanor Farjeon
Five minutes, five minutes more, please!

Let me stay five minutes more!
Can't I just finish the castle
I'm bui1ding here on the floor?
Can't I just finish the story
I'm reading here in my book?
Can't I just finish this bead-chain--
It's almost is finished, look!
Can't I just finish this game, please?
When a game's once begun
It's a pity never to find out
Whether you've lost or won.
Can't I just stay five minutes?
Well, can't I stay just four?
Three minutes, then? two minutes?
Can't I stay~ minute more? (6:92)
The humor in this poem comes from both the count-down
nature of the child's repeated requests to stay up longer
and the number and variety of activities in which he appar-
ently is engaged.
Repetition of "Can't I just • . . " is climaxed by the
appeal to reason: "It's a pity never to find out/Whether
you've lost or won. 11

When that fails, his requests are for
progressively smaller amounts of time. At the end we realize
with amusement that he has probably taken longer than that
"one minute more" just making his plea.

102
Witches and Halloween
BLACK AND GOLD
Nancy Byrd Turner
Everything is black and gold,

Black and gold, tonight:
Yellow pumpkins, yellow moon,
Yellow candlelight;
Jet-black cat with golden eyes,

Shadows black as ink,
Firelight blinking in the dark
With a yellow blink.
Black and gold, black and gold,

Nothing in between--
When the world turns black and gold,
Then it's Halloween! (2:176)
The appeal here is to visual imagery, by repetition
focusing thought on the colors "black and gold."
The consonance that is nearly bracket rhyme of "black"
with "blink" and 11

blinking 11 adds to the musical effect of
the poem. The euphony of "yellow" repeated in the series
"yellow pumpkins, yellow moon, yellow candlelight" and
again in "yellow blink" suggests the many shades of gold on
this special night.
The connotative meanings of "jet black cat" add to
the mood of this Halloween poem.

103
THE WITCH OF WILLOWBY WOOD
Rowena Bennett
There once was a witch of Willowby Wood,

and a weird wild witch was she, with hair that was snarled
and hands that were gnarled, and a kickety, rickety
knee. She could jump, they say,
to the moon and back, but this I never did see.
Now Willowby Wood was near Sassafras Swamp,
where there's never a road or rut. And there by the
singing witch-hazel bush the old woman builded
her hut. She builded with neither a hammer or shovel. She
kneaded, she rolled out, she baked
her brown hovel. For all witches' houses, I've oft heard
it said, are made of stick candy and fresh
gingerbread. But the shingles that shingled this old
witch's roof were lollopop shingles and hurricane-proof, too
hard to be pelted and melted by rain.
(Why this is important, I soon will explain.)
One day there came running to Sassafras Swamp a dark little
shadowy mouse. He was noted for being a scoundrel
and scamp. And he gnawed at the old woman's house where
the doorpost was weak and the doorpost was worn.
And when the witch scolded, he laughed her to scorn.
And when the witch chased him, he felt quite delighted. She
never could catch him for she was nearsighted. And so,
though she quibbled, he gnawed and he nibbled.
The witch said, "I won't have my house
take a tumble. I'll search in my magical book for a spell
I can weave and a charm I can mumble to get you
away from this nook. It will be a good warning to other
bad mice, who won't earn their bread
but go stealing a slice."
"Your charms cannot hurt," said the mouse, looking pert.
Well, she looked in her book and she
Waved her right arm, and she said the most magical
things. Till the mouse, feeling strange,
looked about in alarm, and found he was growing some
104
wings. He flapped and fluttered the longer she muttered.

"'And now, my fine fellow,
you'd best be aloof," said the witch as he floundered
around. "You can't stay on earth and you
can't gnaw my roof. It's lollopop-hard and it's
hurricane-proof. So you'd better take off
from the ground. If you are wise, stay in the skies."
Then in went the woman of Willowby Wood,
in to her hearthstone and cat.
There she put her old volume up high on the shelf, and
fanned her hot face with her hat. Then she said,
"that is that! I have just made a BAT!" (59:228-229)
At first glance at this poem on the page it appears
to be free verse, but to a degree it does not qualify. It
has a strong rhythm, almost every kind of rhyme, and most
elements of musical and figurative language.
Internal rhyme and alliteration are the two qualities
that most catch the attention. The alliteration of "w"
throughout the poem, as in "witch of Willowby Wood," adds to
the smoothness and ease with which the poem is read. The
many internal rhymes, such as "snarled" with "gnarled" and
"kickety" with "rickety," add to the musical effect of the
poem.
The character casting in this poem is unusual. The
witch is a sympathetic character, an old lady who has a bad

105
knee and faulty eyesight. The mouse is the villain; he
really does mean to eat her out of house ahd home. We share
her relief that he is permanently disposed of by his trans-
formation to a bat.
There may be a temptation to use this poem to teach
that bats are mammals. Resist it! This understanding may
come later, but do not exploit the pleasure of the many
poetic qualities by using it for a science lesson.

106
THE EGG-SHELL
Rudyard Kipling
The wind took off with the sunset--

The fog came up with the tide,
When the Witch of the North took an Egg-shell
With a little Blue Devil inside.
"Sink," she said, "or swim," she said,
"It's all you will get from me.
And that is the finish of him!" she said,
And the Egg-shell went to sea.
The wind fell dead with the midnight--

The fog shut down like a sheet,
When the Witch of the North heard the Egg-shell
Feeling by hand for a fleet.
"Get!" she said, "or you're gone," she said,
But the little Blue Devil said "No!"
"The sights are just coming on," he said,
And he let the Whitehead go.
The wind got up with the morning--

The fog blew off with the rain,
When the Witch of the North saw the Egg-shell
And the little Blue Devil again.
"Did you swim?" she said. "Did you sink?" she said,
And the little Blue Devil replied:
"For myself I swam, but I think," he said,
"There's somebody sinking outside." (36:650)
107
This poem does not really make sense, but the rhythm
and musical language catch one up so that it very nearly
does.
There is an interesting pattern of repetition: the
first line in each stanza describes the wind, the second
line describes the fog, the third line tells some action of
the "witch of the North," in regard to the "Egg-shell," and
the fourth line, or soon thereafter, involves "the little
Blue Devil."
The rhythm of the poem is saved from monotony by
avoiding accented final syllables in lines one and three of
each stanza.
108
Just Imagine
WISHES
Rose Fyleman
I wish I liked rice pudding,

I wish I were a twin,
I wish some day a real live fairy
Would just come walking in.
I wish when I'm at table

My feet would touch the floor,
I wish our pipes would burst next winter,
Just like they did next door.
I wish that I could whistle

Real proper grown-up tunes,
I wish they'd let me sweep the chimneys
On rainy afternoons.
I've got such heaps of wishes,

I've only said a few;
I wish that I could wake some morning
And find they'd all come true! (19:33)
It was suggested in the definitions section of this
study that the first stanza of this poem has assonance of
similarity; all vowels except that in "would" are made well
forward in the mouth.

109
The accumulative effect of the poem is that even
the wisher recognizes that there is little hope for the
wishes to be fulfilled. This results in part from the
repetition of "I wish" and partly from the nature of the
wishes themselves: some possible, some unlikely, some too
late to be accomplished, and some impossible.

110
IF
Anonymous
If all the world were apple-pie,

And all the sea were ink,
And all the trees were bread and cheese;
What should we have to drink? (57:213)
The conversational effect is achieved by use of a
question asked of the reader or listener. The sheer non-
sense, but also the consideration of an unlikely circum-
stance, will appeal to all children who have ever played
"What if • • • ?"
The use of the subjunctive may be learned incidentally
or inductively in this poem, but certainly it should not be
mentioned to the children.
Repetition of 11
all" in "all the world, 11
"all the sea,"
and "all the trees" clues the listener by exaggeration to the
impossibility of the situation imagined.
But, on the other hand, what would we drink?

111
THE TOASTER
William Jay Smith
A silver-scaled Dragon with jaws flaming red

Sits at my elbow and toasts my bread.
I hand him fat slices, and then, one by one,
He hands them back when he sees they are done.
(2:107)
The incongruous situation of the fierce dragon per-
forming so domestic a task, efficiently and cooperatively,
will appeal to the imagination of the first grade child. It
is true that no first grader could share such an experience,
but he would be willing, even eager, to imagine that he
could. In a way the tame dragon appeals to the child's wish
to triumph over the unknown.
Traditionally the dragon breathes fire. This one,
however, does not seem quite so dangerous as the word is
"flaming," modifying "red," rather than "flames" that are
seen directly. This tame dragon's flames are well under
control.
112
THE GOLD-TINTED DRAGON
Karla Kushkin
What's the good of a wagon

Without any dragon
To pull you for mile after mile?
An elegant lean one
A gold-tinted green one
Wearing a dragonly smile.
You'll sweep down the valleys
You'll sail up the hills
Your dragon will shine in the sun
And as you rush by
The people will cry
"I wish that my wagon had one~" (6:197)
The imaginative wishful thinking of a child is
manifest in this light-hearted poem. The controlled use of
cacophony and euphony contribute much to movement and mean-
ing. The stops in "good" and "elegant" help to emphasize
those words and to ready the reader for the lovely line "a
gold-tinted green one," a seeming contradiction which adds
to the appeal of the imaginary dragon. The euphony of
"You'll sweep down the valleys/You'll sail up the hills/Your
dragon will shine in the sun" emphasizes the ease and con-
venience such a creature would add to one's life.

113
11
The imaginative adjective dragonly 11 to describe
11
smilett is particularly effective. It suggests the usual
"heavenly smile" while emphasizing how un-heaven-like a
dragon's smile would be.

114
ONE DAY WHEN WE WENT WALKING
Valine Hobbs

I found a dragon's tooth,
A dreadful dragon's tooth,
"A locust thorn," said Ruth.

I found a brownie's shoe,
A brownie's button shoe,
"A dry pea pod," said Sue.

I found a mermad's fan,
A merry mermaid's fan,
"A scallop shell," said Dan.

I found a fairy's dress,
A fairy's flannel dress,
"A mullein leaf," said Bess.
Next time I go walking--

Unless I meet an elf,
A funny, friendly elf--
I'm going by myself! (1:306)
115
The effects of imagination and lack of imagination
are evident in this poem. The "I" of the poem sees the
strange and unusual all around her, but her no-nonsense
friends do not let her imagine long.
The poet has used alliteration and repetition to
contribute to the spell of imagination. Whatever is thought
to have been found is repeated in lines two and three, but
in line three alliteration gives added emphasis: "dragon's
tooth," and then "dreadful dragon's tooth." The walking
partner debunks by introducing not only truth, but a new
beginning consonant sound, thus emphasizing the contrast
between the imagined and the true. It is not "a merry
mermaid's fan," it is a "scallop shell."

116
POOR OLD LADY
Unknown
Poor old lady, she swallowed a fly,

I don't know why she swallowed a fly.
Poor old lady, I think she'll die.
Poor old lady, she swallowed a spider.

It squirmed and wriggled and turned inside her.
She swallowed the spider to catch the fly.
Poor old lady, she swallowed a bird.

How absurd! She swallowed a bird.
She swallowed the bird to catch the spider,
She swallowed the spider to catch the fly,
Poor old lady, she swallowed a cat.

Think of that! She swallowed a cat.
She swallowed the cat to catch the bird.
Poor old lady, she swallowed a dog.

She went the whole hog when she swallowed the dog.
She swallowed the dog to catch the cat,
She swallowed the cat to catch the bird,
117
Poor old lady, she swallowed a cow.

I don't know how she swallowed the cow.
She swallowed the cow to catch the dog,
She swallowed the dog to catch the cat,
She swallowed the cat to catch the bird,
Poor old lady, she swallowed a horse.

She died, of course. (6:251-252)
Repetition here is accumulative with each new addi-
tion to the old lady's bill of fare building to the climax
of swallowing the horse. The change of rhythm in the last
line, when the mock fear of her death is realized, adds to
the dramatic effect of the poem. Of course, it is not to be
taken seriously, what old lady could swallow all that?
The poet has used repetition of words, phrases, and
whole lines to achieve the chant-like effect of the poem.
11 11
The internal rhyme of why" with fly, 11 11
absurd 11
with "bird, 11
"that" with "cat," and "how" with "cow" adds to the music and
rhythm of the poem.
This poem tells us that there are limits to what we
can do, even when we approach them gradually. The "poor old
lady" found out the hard way.

118
LIMERICKS
Edward Lear
There was an old person in gray

Whose feelings were tinged with dismay;
She purchased two parrots, and fed them with carrots
Which pleased that old person in gray. {38: 1)
There was an old lady of France,

Who taught little ducklings to dance;
When she said, "Tick-a-tack!" they only said 11 Quack!"
Which grieved that old lady of France. {38:28)
There was an old person of Ware,

Who rode on the back of a bear;
When they asked, "Does it trot?" he said, "Certainly not!"
He's a Moppsikon Floppsikon bear!" (38:17)
Limericks are identified by their unique rhythm and
rhyme scheme. The line division is often five lines instead
of four, making two shorter rhyming lines out of the one long
line that now has internal rhyme. The first two and the last
lines rhyme.
The limerick is used to convey humor or nonsense.
Most of Lear's limericks are more appreciated by
older children or need to be reinforced with illustrations
for first graders. These three seem appropriate listening
material for the first grade pupil.
The triple rhymed ''Moppsikon Floppsikon" is both
imaginative and descriptive.

119
Trains and Travel
WONDER WHERE THIS HORSESHOE WENT
Edna St. Vincent Millay
Wonder where this horseshoe went.

Up and down, up and down,
Up and past the monument,
Maybe into town.
Wait a minute. "Horseshoe,

How far have you been?"
Says it's been to Salem
And halfway to Lynn.
Wonder who was in the team.

Wonder what they saw.
Wonder if they passed a bridge--
Bridge with a draw.
Says it went from one bridge

Straight upon another.
Says it took a little girl
Driving with her mother. (2:88)
The child's wondering about all the world out beyond
what he has seen is well expressed in this poem. The author
has adopted the casual speech patterns of a child by omitt-
ing the pronouns "I" and "it" at the beginning of many lines.
The technique of speaking directly to the horseshoe is also
something that a child would be likely to do.

120
Even the facts supposedly related by the horseshoe
are just the sort a child would imagine--directly from one
bridge to another seems an impossible dream, but relation-
ship to oneself bring it all back to reality when it is
learned that a girl and her mother took that exciting ride.
"From one bridge/Straight upon another" may seem
imaginary, but it is reality for those who have driven to
the Florida Keys. My private image of this last stanza is
one of the horse-drawn buggy carrying the mother and child
moving down this bridge that goes to sea right over the
horizon.
121
TRAVEL
The railroad track is miles away,

And the day is loud with voices speaking,
Yet there isn't a train goes by all day
But I hear its whistle shrieking.
All night there isn't a train goes by,

Though the night is still for sleep and dreaming
But I see its cinders red on the sky,
And hear its engine steaming.
My heart is warm with the friends I make,

And better friends I'll not be knowing,
Yet there isn't a train I wouldn't take,
No matter where it's going. (2:81)
This poem restates that urge to explore, to travel,
to experience. The sound of the train is the call to go.
The dual meaning of "still .. in the line "Though the
night is still for sleep and dreaming" gives increased mean-
ing to the sound in the night. The night is at once both
11
still'' in the sense of being quiet and "still" in the sense
of being yet the time to sleep, the dark of night.

122
TRAINS
James S. Tippett
Over the mountains,

Over the plains,
Over the rivers,
Here come the trains.
Carrying passengers,
Carrying mail
Bringing their precious loads
In without fail
Thousands of freight cars

All rushing on
Through day and darkness,
Through dusk and dawn.
Over the mountains,

Over the plains,
Over the rivers,
Here come the trains. (2:80)
Repetition here has the effect of building the sound
of a train and at the same time indicating the where, the
what, and the when about trains.
Repetition of the first stanza as a final stanza
unites the poem and emphasizes the rhythm. The alliteration
of "day, ... "darkness, 11

"dusk," and "dawn" emphasizes those
words, helping the reader or listener to realize that the
work of the trains is continuous.

123
THE FREIGHT TRAIN
Rowena Bennett
The slow freight wriggles along the rail

With a red caboose for a lashing tail,
With a one-eyed engine for a head
The slow freight follows the river bed.
He moves like a snake that has grown too fat,

One that has swallowed a frog and a rat;
But a giant of snakes is the moving freight
And these are some of the things he ate:
A herd of sheep and a hundred hens

And dozens of pigs with crates for pens
And horses and cows by the sixes and tens;
And these are some of the things he drank:
Oil and gasoline by the tank,
Milk by the gallon and cream by the pail--
No wonder he moves at the pace of a snail. (59:
178-179)
The figurative language in this poem is both simile
and metaphor, first saying that the train is "like a snake"
and then that it "is" a "giant snake" with a prodigious
appetite.
124
There are some elements of musical language. There
is consonance in "herd • • . hundred hens" with the repeti-
tions of "h," "r," and "d." "Gallon" and "gasoline" are
also consonance with the repetitions of "g," "l" and "n."
There is alliteration of "frogs" with "freight" and of
"crates" with "cream." The rhyme is all single syllable.
The listing of the intake of the freight train is given
euphony by the repeated use of the word "and."
This poem may have no deeper meaning for the teacher
than it does for the student, but for both of them it
supplies a new way of thinking about trains.

125
A MODERN DRAGON
Rowena Bennett
A train is a dragon that roars through the dark.

He wriggles his tail as he sends up a spark.
He pierces the night with his one yellow eye,
And all the earth trembles when he rushes by.
(7:146)
What a frightening spectacle this modern dragon is,
causing all to tremble at his passing! The pleasure of this
poem lies both in the metaphor of the train as a dragon and
in the deliberate double meaning of the word "tremble."
The earth does tremble, if not in fear, because of the
vibrations set up by the passing train.
On second thought, the dragon is not so fearsome
after all. He does not "lash," "crack," or "snap" his tail;
he only "wriggles" it. He does not breath flames, only"a
spark."
Does he know why we tremble? The mock serious tone
suggests he does, but continues to pretend to be a dragon
anyway.
Perhaps the poem is saying that dragons are not what
they used to be.

126
Animals and Other Creatures
NOTICE
David McCord
I have a dog,
I had a cat.
I 1 ve got a frog
Inside my hat. (6:72)
What happens when he takes off his hat? Where will
he be when he does it? Certainly this is an example of a
poem that leaves to the listener or reader the climax of
the action.
The assonance of "have," "had," "cat," and "hat" and
of "I" with "inside" adds to the impact of this poem.
There is also alliteration in "have," "had, 11

and "hat."
The surprise element and the visual image of a boy
with a frog in his hat will be as funny to the first graders
as it is to their teacher.
127
JUMP OR JINGLE
Evelyn Beyer
Frogs jump
Caterpillars hump
Worms wiggle
Bugs jiggle
Rabbits hop
Horses clop
Snakes slide
Seagulls glide
Mice creep
Deer leap
Puppies bounce
Kittens pounce
Lions stalk--
But--
I walk! (6:85-86)
The contrasts of the many kinds of locomotion are
evident in these unlike pairs. The extra line "But" adds
emphasis by the change of rhythm to the final line "I walk,"
thus demonstrating that people are not only different, they
are special.
128
We cannot be sure if the "but" is one of pride or of
disappointment. If of pride, it indicates that walking is
a superior way of getting about; if of disappointment, it
shows regret for all the unexperienced interesting ways that
other creatures move.
I would like to glide.

129
THE ANSWERS
Robert Clairmont
"When did the world begin and how?"

I asked a lamb, a goat, a cow:
"What's it all about and why?"
I asked a hog as he went by:
"Where will the whole thing end and when?"

I asked a duck, a goose, a hen:
And I copied all the answers too,

A quack, a honk, an oink, a moo. (6:227)
To me this poem demonstrates the futility of asking
fellow creatures about the meaning of life, for, after all,
what can they say but what they .£§B. say. There are natural
limits to the kind of answers we can give, based upon the
kind of creatures we are. The answer may have meaning to
the answerer, but there will be as many answers as answerers.
Assonance of pattern is found in two lines of this
poem: "I asked a lamb, a goat, a cow" and "A quack, a honk,
an oink, a moo." In both cases the vowels are made begin-
ning low front and progressing to the high back. This is
also a descending order of frequency, as the chart in the
definitions section indicates.

130
A BIG TURTLE
Unknown
A big turtle sat on the end of a log,

Watching a tadpole turn into a frog.
(6:79)
To a child this short poem may simply be the descrip-
tion of a scene, but to an adult it could be a twentieth
century comment of the nature of time and the flux and
change of life. A child might be reminded by this patient
inactive turtle of another turtle-like creature, the tor-
toise of the race, who also prevailed.
A relationship between the turtle and the tadpole is
accomplished with consonance, both begin with "t" and end
with the sound of "l." They are not in bracket rhyme
because more than the accented vowel is different. The
masculine rhyme of "log" with "frog" has been noted in the
definitions section of this study.

131
THE LITTLE TURTLE
Vachel Lindsay
There was a little turtle.

He lived in a box.
He swam in a puddle.
He climbed on the rocks.
He snapped at a mosquito.
He snapped at a flea.
He snapped at a minnow.
And he snapped at me.
He caught the mosquito.

He caught the flea.
He caught the minnow.
But he didn't catch me. (7:79)
This perennial primary poem demonstrates techniques.
Repetition is certainly the most obvious, first in the
sequence "he lived," "he swam," "he climbed," and then in
the four uses of the "he snapped" and the three of "he
caught." Of the four lines in each stanza there is just one
rhyming pair, serving to avoid the monotony of a too regular

132
pattern. "Mosquito" and "minnow, 11 end words in the lines
of two stanzas, begin with alliteration and end with
assonance, but they are not in slant rhyme because the
identical vowels are not the accented ones.
The change of the pattern of action is emphasized by
the change from "caught" to "didn't catch." The satisfac-
tion in escaping is evident.
The staccato effect of the short sentences adds to
the action and meaning of the poem.

133
CHANTICLEER
John Farrar
High and proud on the barnyard fence

Walks rooster in the morning.
He shakes his comb, he shakes his tail
And gives his daily warning.
"Get up, you lazy boys and girls.

It's time you should be dressing!"
I wonder if he keeps a clock,
Of if he's only guessing. (6:50)
The "wonder" in this poem appeals to the desire in us
all to know the what, the how, and the why of things. How
can the rooster be so sure? There is humor in the thought
of a rooster with a clock, but perhaps he does have an
inward time-piece that not only arouses him but motivates
him to proclaim to the world that a new day has come.
The word "warning" troubled me. What does the rooster
know about the new day that would cause him to issue a
warning? Finally I realized that the danger is not in the
new day, but in us. The danger is that we may sleep through
it, we may miss it, we may waste it.

134
MRS. PECK-PIGEON
Eleanor Farjeon
Mrs. Peck-Pigeon
Is picking for bread,
Bob--bob--bob
Goes her little round head.
Tame as a pussy cat
In the street,
Step--step--step
Go her little red feet.
With her little red feet
And her little round head,
Mrs. Peck-Pigeon
Goes picking for bread. (6:62-63)
This is visual imagery; we can see the pigeon walking
and eating. The title "Mrs. Peck-Pigeon" at first suggests
personification, but instead it comes to indicate the mature
and purposeful way she goes about her business.
There is alliteration in "Peck-Pigeon," "picking,"
and "pussy." The cacophony in the consonant repetitions of
"Bob--bob--bob" and "Step--step--step" help us be aware of
the movement of the pigeon.

135
A BIRD
Emily Dickinson
A bird came down the walk:

He did not know I saw;
He bit an angle worm in halves
And ate the fellow, raw.
And then he drank a dew

From a convenient grass
And then hopped sidewise to the wall
To let a beetle pass. (2:53)
The taste imagery of this poem was indicated earlier
in the study. Raw angle worms, by halves or whole, are
affective but not appealing. The effect of the second
stanza is more that of visual imagery, causing us to see the
bird in our imaginations.
The cacophonous effects of "drank a dew," "conven-
ient g_rass, 11
"hoE.E_ed, 11
and "let a beetle 2_ass" slow down the
movement of the poem and suggest the deliberate fashion in
which the bird acted.

136
The use of the word "fellow" in referring to the
worm, rather than creature or thing, suggests the poet felt
some sympathy or bond of kinship with it. Is it that she
regrets the almost un-noticed passing of a life? Or is she
saying that we, like the bird, survive because something
else does not, and then go on about our business unconcerned?

137
THE EAGLE
Alfred, Lord Tennyson
He clasps the crag with crooked hands;

Close to the sun in lonely lands,
Ringed with the azure world, he stands.
The wrinkled sea beneath him crawls;

He watches from his mountain walls,
And like a thunderbolt he falls. (70:345)
This poem was cited earlier in the definitions sec-
tion of this study as an example of cacophony.
The adjective and noun combinations are especially
effective. "Crooked hands," "azure world," and "wrinkled
sea" evoke visual images that "horny claws," "clear blue
sky," and "stormy sea" could not.
The simile comparing the dive of the eagle to a
thunderbolt suggests both speed and power.

138
CATS
Marchette Chute
A baby cat is soft and sweet.

It tangles in around your feet.
But when a cat if fully grown,

It often likes to be alone. (6:31)
This poem is a comment about the changing nature of
life: things just do not stay the same. What is desired
and sought at one stage is avoided at another.
Assonance of contrast helps point up this change.
The "e" of "sweet" and "feet" is high front, while the 11

0
11
of "grown" and "alone" is mid back.
,..Soft" and "sweet" have consonance in the repetition
of the same beginning and ending consonant sounds.
The word "tangles" is an especially appropriate
choice as it describes so aptly the touch imagery of an
encounter with a kitten.

139
THE PURPLE COW
Gelett Burgess
I never saw a Purple Cow,

I never hope to see one;
But I can tell you, anyhow,
I'd rather see than be one. (2:117)
The predictable regularity of the rhythm and rhyme of
this poem brought it near to being rejected for this anthol-
ogy, but it is included because of what I perceive to be a
symbol--the "Purple Cow."
The "Purple Cow" is a symbol for all the things that
we have never seen but have been told exist: the starving
multitudes of India, the crowded refugees in Hong Kong, the
poor of Appalachia, or the racial minority of a metropolitan
ghetto. All these things we know are possible, are true,
and deep in our hearts we are glad we are not there and part
of it.
So it is with the "Purple Cow." We have not seen
one, and we honestly do not want to see one. But, if we
must, we would "rather see than be one."

140
FLIES
Dorothy Aldis
Flias walk on ceilings

And straight up the walls
Not even the littlest
Fly ever falls.
And I am quite certain

If !. were a fly
I'd leave my home and go
Walk on the sky. (7:99)
The slant rhyme of "go" with the single syllable
rhyming pair "fly" and "sky" has already been noted in the
definitions section of this study.
The use of the subjunctive in "if I were a fly"
indicates that the impossibility is recognized. The poet
aspires to do more as a fly than the real flies do--they are
content with ceilings, but she would try for the sky.
141
The author speaks directly to the listener or reader,
as if she assumed that everyone shared her interest in
trying something new and daring.
On another level of interpretation, this kind of
wishful thinking may indicate both a reluctance to stay at
home and a recognition that one does not have the special
abilities to do those new and daring things. It seems to
say: "If I were something other than what I am, I could
really do something spectacular. But I am what I am, so
here I stay."
142
THE ELEPHANT
A. E. Houseman
A tail behind, a trunk in front,

Complete the usual elephant.
The tail in front, the trunk behind,
Is what you very seldom find.
If you for specimens should hunt

With trunks behind and tails in front,
The hunt would occupy you long,
The force of habit is so strong. (20:329)
The theme of this poem seems to be the natural order
of things. The mock serious tone is clued by the imperfect
rhyme of "front" with "elephant" (the accent is on different
vowels,) the cacophony of the key words, and the repetition
and regrouping of "tail" and "trunk" with "front" and
"behind."
This poem does not say it would be impossible to find
such a variation, rather that it would be a long search.
Things, including elephants, tend to follow the original
pattern.
143
AN INCONVENIENCE
John Banister Tabb
To his cousin the Bat

Squeaked the envious Rat,
"How fine to be able to fly!"
Tittered she, "Leather wings
Are convenient things;
But nothing to sit 2.!l have I." (7:155)
The humorous predicament of the bat will appeal to
children.
The danger in this poem is in the temptation to use
it to teach that bats are mammals. If the child has
encountered this fact in science, he will understand this
aspect of the poem by himself. If he has not, do not use
this poem as a science lesson.
The regularity of the rhythm and rhyme serve to
reinforce the humor in this poem.
The verbs "squeaked ... and "tittered" are especially
effective, the quality of the consonants and the high front
vowels suggesting the tone of voice of the creatures.

144
FUZZY WUZZY
Lillian Schulz Vanada
Fuzzy wuzzy, creepy crawly

Caterpillar funny,
You will be a butterfly
When the days are sunny.
Winging, flinging, dancing, springing

Butterfly so yellow.
You were once a caterpillar,
Wriggly, wiggly fellow. (2:61)
This poem is about the changing nature of things:
today's caterpillar is tomorrow's butterfly.
There are several instances of internal rhyme:
11
fuzzy wuzzy, 11
"winging, flinging, • • . springing," and
"wriggly, wiggly. 11 "Dancing" is in slant rhyme with the
series that includes "springing." All forms of rhyme con-
tribute to the musical effect of the poem.
The alliteration of "creepy crawly" suggests the
current unpleasantness of the caterpillar stage.

145
ONLY MY OPINION
Monica Shannon
Is a caterpillar ticklish?
Well, it's always my belief
That he giggles, as he wiggles
Across a hairy leaf. (31:457)
This little bit of nonsense feels good on the tongue.
The combining of cacophonous stops with euphonious laterals
develops a near pattern in "caterpillar ticklish" and does
rhyme in "giggles" and "wiggles."
The conversational tone, asking a direct question of
the listener or reader, serves to involve him in the
theorizing of the poem.

146
I HELD A LAMB
Kim Worthington
One day when I went visiting,

A little lamb was there,
I picked it up and held it tight,
It didn't seem to care.
Its wool was soft and felt so warm--

Like sunlight on the sand,
And when I gently put it down
It licked me on the hand. (6:49)
The imagery of this poem appeals to the sense of
touch; it suggests the softness and warmth of the lamb and
the touch of its tongue on the hand.
There is alliteration in "little lamb," "wool
warm," and "sunlight . sand." Although they are
separated in the poem, the rhyme of "picked" and "licked"
adds to the harmony of the poem.

147
ON THE GRASSY BANKS
Christina G. Rossetti
On the grassy banks

Lambkins at their pranks;
Woolly sisters, woolly brothers,
Jumping off their feet,
While their woolly mothers
watch by them and bleat. (7:59)
The visual image of ewes and their lambs is well
described in this short poem. The affection of the poet is
revealed in the term "lambkin" whose suffix "-kin" suggests
both small size (hence, needing care) and kinship.
Repetition of "woolly" emphasizes the family unity,
the family resemblance.
Two words on first reading seem to be the wrong words.
The first is "off" in the phrase "jumping off their feet."
After some thought, one realizes that "off" is singularly

148
appropriate, indicating the zest and energy with which the
lambs are frolicing about. The second is the final word of
the poem, "bleat." "The grassy banks" had caused me to
anticipate that final word as "eat." This too requires some
thought to understand. For the ewe, to bleat is to
communicate with the lamb, to perform her motherly duties
of care and training. So, perhaps the kinship we have with
the lamb is this learning from our mothers.

149
THE OCTOPUS
Ogden Nash
Tell me, O Octopus, I begs,

Is those things arms, or is they legs?
I marvel at thee, Octopus;
If I were thou, I'd call me Us. (2:119)
The faulty number agreement of subject and verb and
the mock serious formality of "thee" and "thou" are clues
to, and contributions to, the humor of this poem. The idea
of calling a single being "us" will be appreciated even by
those who might say "arms is" and "legs is."

150
MICE
Rose Fyleman
I think mice
Are rather nice.
Their tails are long,

Their faces small,
They haven't any
Chins at all.
Their ears are pink,
Their teeth are white,
They run about
The house at night.
They nibble things
They shouldn't touch
And no one seems
To like them much.
But !. think mice

Are nice. (2: 55)
The assonance resulting from the repetition of "i"
in the first two and last two lines has been discussed in
the definitions section of this study.
The center section of the poem lists the various
things that mice do, but indicates no really redeeming of
appealing characteristics. The extra emphasis given 11

I 11 in
the line "But I think mice" is further reinforced by the
short last line "Are nice." The mice then, are liked not be-
cause of how they look or what they do; they are simply
liked. Do we really need a reason?

151
THE HOUSE OF THE MOUSE
Lucy Sprague Mitchell
The house of the mouse

is a wee little house,
a green little house in the grass,
which big clumsy folk
may hunt and may poke
and still never see as they pass
this sweet little, neat little,
wee little, green little,
cuddle-down hide-away
house in the grass. ( 6: 56)
Assonance is the most outstanding characteristic of
this poem. It could be called assonance of pattern because
it is repeated or it could be identified as assonance of
similarity because it is the use of adjacent high front
vowel sounds. The pattern and similarity is found in "wee
little," "green little," "sweet little," "neat little,"
"wee little," and "green little." (The last two are repe-
tions, as they are in the poem.)
The cacophony of "big clumsy folk" serves to empha-
size both size and awkwardness.

152
HOLDING HANDS
Lenore M. Link
Elephants walking
Along the trails
Are holding hands

By holding tails.
Trunks and tails

Are handy things
When elephants walk

In circus rings.
Elephants work
And elephants play
And Elephants walk

And feel so gay.
And when they walk

It never fails
They're holding hands

By holding tails. (2:74)
This poem supplies a new way of thinking about the
comparison of elephants to people by suggesting that "hold-
ing tails" is to elephants what "holding hands" is to people.
The appeal here is to visual imagery. We see the
elephants, we do not smell, hear, or feel them.
The short line length and the several repetitions
cause the poem to move quickly and easily.

153
THE WHITE SEAL
Rudyard Kipling
You musn't swim till you're six weeks old,

Or your head will be sunk by your heels;
And summer gales and Killer Whales
Are bad for baby seals.
Are bad for baby seals, dear rat,
As bad as bad can be.
But splash and grow strong,
And you can't be wrong,
Child of the Open Sea! (36:648)
This homely advice to a baby seal uses several de-
vices for poetic effect. The reader is addressed directly,
as if he were that seal. The regularity of the masculine
rhyme ("heels" with "seals," "be" with "sea, 11

"strong" with
"wrong," and "gales" with "whales.") accents the words "old"
and "rat" for which there is no rhyme. 11

Rat 11 is in asso-
nance with the line that follows it: "As bad as bad can
be. 11 "Old" is in slant rhyme with "child" and in assonance
with "open," thus unifying the first and last lines.
There is assonance in the repetition of the vowel
sound of "heels, 11
"seals, 11
"be, 11
and "sea." Both the
letters "s" and 11

b 11 are repeated enough times to be identi-
fied as consonance: "swim," "six," "sunk," "summer," and
the many repetitions of "bad" and "baby."

154
PUPPY
Aileen Fisher
My puppy likes
a hard old bone
as if it were
an ice-cream cone. (6:36)
The imagery of this poem affects the sense of taste.
The cacophony of "hard old bone" makes it seem even less
appetizing in comparison to the connotative meanings of
"ice-cream cone."
The capitalization and lack of punctuation encourage
the reading in a conversational, prose-like tone, but the
distillation of thought and the built-in rhythm identify it
as a poem.
This poem demonstrates the use of the subjunctive
("as if it were") that is sometimes thought of as contrary
to fact. Usage of higher levels of spoken and written
English should of course be encouraged, but it is not
suggested that this usage be brought to the attention of the
child.
155
SUNNING
James S. Tippett
Old Dog lay in the summer sun

Much too lazy to rise and run.
He flapped an ear
At a buzzing fly.
He winked a half oped
Sleepy eye.
He scratched himself
On an itching spot,
As he dozed on the porch
Where the sun was hot.
He whimpered a bit
From force of habit
While he lazily dreamed
Of chasing a rabbit.
But Old Dog happily lay in the sun
Much too lazy to rise and run. (2:47)
Even with the use of many verbs, the movement of the
poem is slow and leisurely. "Lay," "flapped, 11

"winked,"
"scratched," "dozed," "whimpered, 11 "dreamed," and, again,
"lay" all tell of some small action of the dog. The visual
image of the old dog sunning himself is given a twitching
kind of movement by those verbs and also by the short line
length.
156
There is rhyme of many of the lines, but not of all
of them. There is alliteration in "summer sun," "rise and
run," and "from force."
Repetition of the second line, "Much too lazy to rise
and run," as the final line convinces us of just how com-
fortably lazy "Old Dog" is lying there "in the sun."

157
SNAKE
Emily Dickinson
A narrow fellow in the grass

Occasionally rides;
You may have met him,--did you not?
His notice sudden is.
The grass divides as with a comb,

A spotted shaft is seen;
And then it closes at your feet
And opens further on.
He likes a boggy acre,

A floor too cool for corn.
Yet when a child, and barefoot,
I more than once, at morn,
Have passed, I thought a whip-lash

Unbraiding in the sun,--
When, stooping to secure it,
It wrinkled, and was gone.
Several of nature's people

I know, and they know me;
I feel for them a transport
Of cordiality;
But never met this fellow,

Attended or alone,
Without a tighter breathing,
And zero at the bone. (70:467)
158
This poem has been cited earlier as an example of
slant rhyme and of assonance of pattern. It might also
have been used to illustrate kinesthetic imagery ("without a
tighter breathing") and thermal imagery ("zero at the bone").
The connotative meanings each individual has for "snake"
will affect the degree to which one responds to the imagery
of the poem.
This poem would probably be most enjoyed by the first
graders late in the school year after they have had many
listening experiences with poetry and have well developed
listening skills.
159
People
PRESENTS
Marchette Chute
I wanted a rifle for Christmas,

I wanted a bat and a ball,
I wanted some skates and a bicycle,
But I didn't want mittens at all.
I wanted a whistle
And I wanted a kite,
I wanted a pocketknife
That shut up tight.
I wanted some boots
And I wanted a kit,
But I didn't want mittens one little bit~
I told them I didn't like mittens,

I told them as plain as plain.
I told them I didn't WANT mittens,
And they've given me mittens again! (1:306)
The repetition of the phrases "I wanted" and "I told
them" was discussed in the definitions section of this
study.
The shorter line length in the second stanza and the
euphony resulting from the repetition of "want" and "and"

160
cause that section to move smoothly and quickly. The longer
last line, "But I didn't want mittens one little bit,''
emphasizes its meaning by its length.
Even though "plain" and "again" are no longer a
perfect rhyme, they are still in slant rhyme with each
other. The slant rhyme seems to give added meaning to
"again"; this sort of disappointment has happened before.

161
MUD
Polly Chase Boyden
Mud is very nice to feel

All squishy-squash between the toes!
I'd rather wade in wiggly mud
Than smell a yellow rose.
Nobody else but the rosebush knows

How nice mud feels
Between the toes. (31:298)
The imagery in this poem appeals to our sense of
touch--for who has not known the delight of walking barefoot
in the mud?
To a degree, the poem personifies the rosebush by
indicating that it and the voice of the poem share a special
knowledge. Because the rose knows about mud and toes, it
will not feel rejected by being second choice.
"Squishy-squash" is nearly bracket rhyme.

162
GALOSHES
Rhoda W. Bacmeister
Susie's galoshes
Make splishes and splashes
Along in the slush.
They stamp and they tramp

On the ice and concrete,
They get stuck in the muck and the mud;
But Susie likes much best to hear
The slippery slush

As it slooshes and sloshes,
And splishes and splashes,
All round her galoshes! (2:157)
This delightful poem has many characteristics that
have already been used as examples in the definitions sec-
tion of this study. The feminine rhyme of "galoshes" with
"splashes," the bracket rhyme of "splishes" with "splashes,"
and the imagery that affects the sense of hearing have
already been discussed.

163
The poem makes us hear Susie as she sloshes along.
The cacophony of the consonants in the second stanza ("p"
and "t" in "stamp" and "tramp," the sound of "k" in
"concrete" and "stuck, " and the "d" in "mud") slows down
the reader and has a less soothing sound to the mind's ear
than all the repetitions of "sl," "spl," and "sh." In the
first stanza the word "step" with the forced pauses caused
by the "t" and the "p" help us to know just how carefully
Susie moves along.

164
TIRED TIM
Walter de la Mare
Poor tired Tim! It's sad for him.

He lags the long bright morning through,
Ever so tired of nothing to do;
He moons and mopes the livelong day,
Nothing to think about, nothing to say;
Up to bed with his candle to creep,
Too tired to yawn, too tired to sleep:
Poor tired Time! It's sad for him. (2:6)
The tone of this poem is irony as it pretends to
sympathy for Tim, but shows that he really has nothing to be
all that tired about.
The repetition of the first and last lines was dis-
cussed earlier in the definitions section, indicating that
even though the words say the same thing, they do not mean
the same thing. At the end of the poem we are 11

wise 11 to
Tim.
165
PEOPLE
Lois Lenski
Tall people, short people,

Thin people, fat,
Lady so dainty
Wearing a hat,
Straight people, dumpy people,
Man dressed in brown;
Baby in a buggy--
These make a town. (6:130)
This short poem emphasizes the variety of kinds of
people that "make a town." The consonance of "t" in "tall,"
"short," "fat," "dainty," "hat," "straight," and "town"
together with the "b" of "brown," "baby," and "buggy," and
the "p" in the five repetitions of "people" develop caco-
phony, causing the reader to read more slowly and precisely.
This precision serves to accentuate the variety.

166
HAPPINESS
A. A. Milne
John had
Great Big
waterproof
Boots on;
John had a
Great Big
waterproof
Hat;
John had a
Great Big
waterproof
Mackintosh--
And that
(Said John)
Is
That. (2:105)
The short line length and the capitalization of "Big"
within the line are clues to the emphasis given nearly
every word in this short poem.
The three repetitions of "John had/Great Big/Water-
proof" automatically develops an assonance of pattern. The
cacophony of the consonants in those words causes the words
to be said more slowly and deliberately, thus demonstrating
John's determination and delight. It must take some deter-
mination to move about in all the "Great Big" clothes, and
the title "Happiness" tells us how John feels about it all.

167
THE END
A. A. Milne
When I was One,

I had just begun.
When I was Two,

I was nearly new.
When I was Three,

I was hardly me.
When I was Four,

I was not much more.
When I was Five,

I was just alive.
But now I am Six, I'm as clever as clever.

So I think I'll be six now for ever and ever.
(45:56)
The progression through the years to the ultimate
"clever" age of six reminds us that we sometimes forget that
we cannot stay what we are "for ever and ever." This comment
on the nature of life, of its inevitable change, seems to me
to be the theme of this poem.
The longer line length helps to reveal the satisfac-
tion and determination of being six.

168
MISS T.
Walter De La Mare
It's a very odd thing--

As odd as can be--
That whatever Miss T. eats
Turns into Miss T.;
Porridge and apples,
Mince, muffins and mutton,
Jam, junket, jumbles--
Not a rap, not a button
It matters; the moment
They're out of her plate,
Though shared by Miss Butcher
And sour Mr. Bate;
Tiny and cheerful,
And neat as can be,
Whatever Miss T. eats
Turns into Miss T. (66:23)
In this poem the poet has used the cacophonous and
euphonious characteristics of consonants to affect the ease
and movement of the lines. The phrase "whatever Miss T.
eats" suggests by the care with which it must be said the
care with which she eats. "Porridge and apples" and "jam,
junket, and jumbles" require more effort than "mince,
muffins, and mutton." Repetition of "whatever Miss T. eats/
Turns into Miss T." emphasizes the effect of those lines.

169
One might really stretch for meaning, message hunt,
some call it, and suggest that the theme of this poem is
that we are all the sum total of our experiences, even
though those same experiences might have affected others
differently. (Mr. Bates is "sour" but Miss T. is "cheer-
ful. 11
) Such stretching is likely to take the fun out of
the sound of the poem and the visual image of a fastidious
and cheerful child. I do not recommend it.

170
CHOOSING SHOES
ffRida Wolfe
New shoes, new shoes,

Red and pink and blue shoes.
Tell me, what would you choose,
If they'd let us buy?
Buckle shoes, bow shoes,

Pretty, pointy-toe shoes,
Strappy, cappy low shoes,
Let's have some to try.
Bright shoes, white shoes,

Dandy-dance-by-night shoes,
Perhaps-a-little tight shoes,
Like some? So would I.
But
Flat shoes, fat shoes,

Stump-along-like-that-shoes,
Wipe-them-on-the-mat shoes,
That's the sort they'll buy. (1:306)
It could be said that "shoes" are the symbol of what
we get from life. We may want the fancy, pretty, frivolous
things, but for most of us circumstances require that we
settle for the practical ones. Early experience with that
reality often occurs for children in a shoe store.

171
The consonants that are stops slow the reading of
the second line: "Red and pink and blue shoes." Allitera-
tion and internal rhyme in the other lines describing the
exciting kind of shoes increases the musical quality of the
poem and, in a way, emphasizes the dreaming wishful thinking
that is taking place.
The connotative meanings of "fat" and "flat" indi-
cate the undesirability of "the sort they'll buy."

172
THE COBBLER
Eleanor Alletta Chaffee
Crooked heels
And scuf fy toes
Are all the kinds
Of shoes he knows.
He patches up
The broken places
Sews the seams
And shines their faces. ( 2: 13)
The vowel sounds in this poem make it fun to say and
fun to hear. Certainly there is assonance of contrast in
the sound of "crooked heels," "shoes he knows," and "sews
the seams." There are high or mid back vowels combined with
high front vowels in each of those phrases.
Cacophony contributes to meaning. When the cobbler
gets the shoes they are "crooked" and "scuffy" and he has to
"E.atch uE./The broken E.laces. The consonance in the repeti-
tion of "s" in "sews," "seams, 11

"shines, 11
and "faces" is
effective in communicating the transformation.
To some degree the shoes are personified by having
"faces," but this is not consistent throughout the poem.

173
GREGORY GRIGGS
Laura E. Richards
Gregory Griggs, Gregory Griggs,

Had forty-seven different wigs;
He wore them up, and he wore them down,
To please the people of Boston town.
He wore them east, and he wore them west,
But he never could tell which he liked the best.
(6:244)
The cacophonous consonance of "Gregory Griggs,
Gregory Griggs" makes the line fun to say. That a male,
either boy or man, should have and wear that large number of
wigs presents a humorous visual image.
The four repetitions of "he wore" help to emphasize
both time and space; he evidently wore them always,
everywhere.
One wonders if "pleased" was the effect he had on the
proper Bostonians.
174
GODFREY GORDON GUSTAVUS GORE
William Brighty Rands
Godfrey Gordon Gustavus Gore--

No doubt you have heard the name before--
Was a boy who never would shut a door!
The wind might whistle, the wind might roar,

And teeth be aching and throats be sore,
But still he never would shut the door.
His father would beg, his mother implore,

"Godfrey Gordon Gustavus Gore,
We really do wish you would shut the door!"
Their hands they wrung, their hair they tore;

But Godfrey Gordon Gustavus Gore
Was deaf as the buoy out at the Nore.
When he walked forth the folks would roar,

"Godfrey Gordon Gustavus Gore,
Why don't you think to shut the door?"
They rigged out a Shutter with sail and oar,

And threatened to pack off Gustavus Gore
On a voyage of penance to Singapore.
But he begged for mercy, and said, "No more!

Pray do not send me to Singapore
On a Shutter, and then I will shut the door!"
"You will?" said his parents; "then keep on shore!

But mind you do! For the plague is sore
Of a fellow that never will shut the door,
Godfrey Gordon Gustavus Gore!" (2:129)
175
"Godfrey Gordon Gustavus Gore" is both alliteration
and cacophony; by sheer quantity it sets the pace of exag-
geration for the poem. The regularity of the rhythm and
rhyme helps sustain interest through this slightly longer
than usual (for this anthology} poem.
Failing to close a door is certainly an experience
the children have shared. Fearfully exaggerated threats
might also have been shared. This poem may help them better
understand the situation.
For an adult "Singapore" may have connotations that
are exotic and mysterious, but for a child "Singapore" is
only the anticipated rhyme in the regular pattern.

176
WHERE'S MARY?
Ivy O. Eastwick
Is Mary in the dairy?

Is Mary on the stair?
What? Mary's in the garden?
What is she doing there?
Has she made the butter yet?
Has she made the beds?
Has she topped the gooseberries
And taken off their heads?
Has she done the grate?
Are the new green peas all shelled?
It is getting late!
What? She hasn't done a thing?
Here's a nice to-do~
Mary has a dozen jobs
And hasn't finished two.
Well! here IS a nice to-do!
Well! upon my word!
She's sitting on the garden bench
Listening to a bird! (2:8)
The tone of mounting irritation is achieved in part
by the series of questions that indicate the many jobs left
undone by Mary.
There are several pair of rhyming lines. Those that
do not have a rhyme are integrated into the whole of the
poem by the use of other elements of musical language. The
sound of "ar" in "Mary" is repeated in "dairy," "stair,"
and "there." Repetition of "here is a nice to-do," "what,"
and "well" helps to build the mood of the poem.

177
I MEANT TO DO MY WORK TODAY
Richard LeGalliene
I meant to do my work today--

But a brown bird sang in the apple tree,
And a butterfly flitted across the field,
And all the leaves were calling me.
And the wind went sighing over the land,

Tossing the grasses to and fro,
And a rainbow held out its shining hand--
So what could I do but laugh and go? (31:69}
The appealing distractions of outdoors are made more
appealing by the musical, descriptive language that des-
cribes them: the alliteration of "brown bird" and "butter-
fly," the consonance of "butterfly flitted," the suggested
personification of the "wind .•• sighing" and "rainbow held
out its . • • hand," and the internal rhyme of "all • • .
calling."
The conversational effect of the question, "So what
could I do but laugh and go?" serves to directly involve
the reader with the poem.
Comparison of this poem with "Where's Mary" by Ivy
O. Eastwick provides the reader with opposite points of view
about bird-watching instead of working.

178
Fun and Games
A SWING SONG
William Allingham
swing, swing,
Sing, sing,
Here! my throne and I am a king!
Swing, sing,
Swing, sing,
Farewell, earth, for I'm on the wing!
Low, high,
Here I fly,
Like a bird through sunny sky;
Free, free,
Over the lea,
Over the mountain, over the sea!
Up, down,
Up and down,
Which is the way to London Town?
Where? Where?
Up in the air,
Close your eyes and now you are there!
Soon, soon,
Afternoon,
Over the sunset, over the moon;
Far, far,
Over the bar,
Sweeping on from star to star!
No, no,
Low, low,
Sweeping daisies with my toe.
Slow, slow,
To and fro,
Slow--slow--slow--slow. (31:35-36)
179
This poem is a kinesthetic image that causes the
reader to feel the ride in the swing. This is achieved
through the rhythm of the poem and the pattern of repeti-
tion chosen as a stanza form.
Assonance of contrast contributes to the slowing down
of the swing. In the first stanza most of the vowels are
made well forward in the mouth, but the vowels shift back-
ward until in the final stanza most of the important words
have vowel sounds made at the back of the mouth. The con-
sonants, as "p, 11 11
d, 11
and "t" in the line "sweeping daisies
with my toe," also contribute to the slowing down. Punctua-
tion is an additional clue in the last line, but even with-
out it the vowel diphthong in "slow" along with the euphony
of the repetitions of "I" would cause the reader to slow
down.
A poem "A Swing Song" very nearly does.

180
MERRY-GO-ROUND
Dorothy Baruch
I climbed up on the merry-go-round,

And it went round and round.
I climbed up on a big brown horse
And it went up and down.
Around and around
And up and down,
Around and round
And up and down,
I sat high up
On a big brown horse
And rode around
On the merry-go-round
And around
I rode around
Around
And round
And
Round. (2:109)
This poem has kinesthetic imagery; one can feel the
merry-go-round go around. The rhythm of the poem is slow at
first as the rider gets on. Both the use of cacophonous
consonants and the longer line length are contributing ele-
ments to this tempo. After the merry-go-round begins it

181
gains momentum quickly, and then begins to slow down. Once
again, the use of consonants (the "b" of "big" and "brown"
and the "g" of "big") and the line length help to cause a
slowing down. During the ride, the euphony of repetitions
of "r" and "n" and the vowel diphthong in the word "around"
causes the ride to whirl right along.
Spacing also serves to cue the final slowing to a
stop.
There are many kinds of repetition here, and all add
to the total kinesthetic effect of the poem.

182
A PARADE
Mary Catherine Rose
A parade! A parade~
A-rum-a-tee-turn
I know a parade
By the sound of the drum.
A-rum-a-tee-turn
A-rum-a-tee-turn
A-rurn-a-tee-turn-a-tee-turn-
a-tee-turn.
Here it comes
Down the street.
I know a parade
By the sound of the feet.
Music and feet

Music and feet
Can't you feel
The sound and the beat?
A-rum-a-tee-turn
A-rum-a-tee-turn
A-rurn-a-tee-turn-a-tee-turn-
a-tee-turn. (6:122-123)
This poem is nearly pure rhythm, catching up reader
and listener in the feel of a parade. It could be classified
as kinesthetic imagery.
There is pleasure in saying the sounds of the drum.
The repetition gives pattern both to consonants and vowels.

183
HIDING
Dorothy Aldis
I'm hiding, I'm hiding,

And no one knows where;
For all they can see is my
Toes and my hair.
And I just heard my father

Say to my Mother--
.. But, darling, he must be
Somewhere or other;
Have you looked in the inkwell?"

And Mother said, "Where?"
"In the inkwell," said Father. But
I was not there.
Then "Wait!" cried my Mother--

"! think that I see
Him under the carpet. 11 But
It was not me.
"Inside the mirror's

A pretty good place,"
Said Father and looked, but saw
Only his face.
"We've hunted," sighed Mother,

"As hard as we could
And I'm so afraid that we've
Lost him for good."
Then I laughed out aloud

And I wiggled my toes
And Father said--"Look, dear,
I wonder if those
Toes could be Benny's.

There are ten of them. See?"
And they were so surprised to find
Out it was me! (6:200)
184
The mock serious tone of this game Benny plays with
his parents will be perceived and appreciated by the
children. It is an experience they might have had earlier,
but now they share the parent's point of view of the hiding
game.
The effect of consonance in this poem has already
been noted in the definitions section of this study.

185
THE SECRET SITS
Robert Frost
We dance round in a
ring and suppose,
But the Secret sits in the

middle and knows. (6:184)
The meaning of this short poem was indicated earlier
in the discussion of symbols. Briefly restated, it is this:
the ring is a symbol of the cyclic nature of life. We
wonder about the meaning and purpose of life, but do not
find the answer. That answer, known by the "Secret," the
omniscient Being that is the center of our ring, remains a
secret.
To a child this poem will suggest a circle game, per-
haps with the "Secret" being "it."
Isn't that very nearly what we understand?

186
Smell, Feel, See
SNIFF
Frances M. Frost
When school is out, we love to follow

our noses over hill and hollow,
smelling jewelweed and vetch,
sniffing fern and milkweed patch.
The airy fifth of our five senses

leads us under, over, fences.
We run like rabbits through bright hours
and poke our noses into flowers! (2:107)
As the title indicates, the imagery in this poem
appeals to our sense of smell.
There is feminine rhyme between "follow" and "hollow"
and "senses" and fences." Masculine rhyme occurs in "hours"
and "flowers." Slant rhyme is found in "vetch" and "patch."
The variety adds interest.
The dictionary defines "vetch" as a bean-like vine
used for fodder. Somehow its fragrance seems questionable,
perhaps due to the cacophonous 11

--tch. 11 However, not all
smells are sweet, and the other kinds are smell-worthy, too.
187
THE WORLD IS FULL OF WONDERFUL SMELLS
Zhenya Gay
The world is full of wonderful smells,

And you have a nose that always tells
Of bread in the oven, hot and nice,
Of cake being baked with lots of spice,
Of a barn with fresh-cut hay in the mows,
Of horses and pigs and cats and cows,
Of a dog when he's warm and lies in the sun,
Of applesauce and chocolate and a sugar bun.
Wouldn't it be dreadful if you'd no nose to tell
Of every wonderful, wonderful smell? (2:105)
The imagery appealing to the sense of smell was dis-
cussed earlier in the definitions section of this study.
The many smells mentioned run the gamut from spice
cake to pigs. The wonder, then, of "wonderful" is that
there is such variety and that we can experience and enjoy
them all.
The repetition of "and" and "of" help the poem to
move smoothly and easily as it tells of the many "wonderful
smells."
188
WHEN I WAS LOST
Dorothy Aldis
Underneath my belt
My stomach was a stone.
Sinking was the way I felt.
And hollow.
And Alone. (6:117)
This poem is a kinesthetic image. Anyone who has
been "lost," even momentarily, feels again the hollowness
and aloneness when reading this poem.
The strength of the feeling is communicated in part
by the short sentences. The assonance of "long 0 11

in
"stone," "hollow," and "alone" also adds to the effect. The
last two lines seem almost to be after thoughts, expanding
and developing the situation that is given in the title.

189
COLOR
Christina Rossetti
What is pink? a rose is pink

By the fountain's brink.
What is red? a poppy's red
In its barley bed.
What is blue? the sky is blue
Where the clouds float thro'.
What is white? a swan is white
Sailing in the light.
What is yellow? pears are yellow
Rich and ripe and mellow.
What is green? the grass is green,
With small flowers between.
What is violet? clouds are violet
In the summer twilight.
What is orange? Why, an orange,
Just an orange! (6:322)
This poem seems to say that some things are so unique
that they can only be described in terms of themselves. The
pattern of questions and answers contributes to understand-
ing when the last question seems to be answered in the same
term in which it is asked. 11

An orange" of course is dif-
ferent than "orange," but there is a kind of paradox in
admitting it.
190
In a way we are prepared for a change in the pattern
of question and response by a change in the rhyme pattern.
Prior to the last four lines the rhyme had been total
rhyme, either single syllable or double syllable. "Violet"
and "twilight" change that pattern, even though they do
have assonance in the sound of "i" and consonance in the

I
sounds of " 1 11 and 11

t. "
The rhythm change of the last line also adds
emphasis.
The euphony of "rich and ripe and mellow" is pleasant
on the tongue and on the ear.

191
Thoughts and Scenes
TO MAKE A PRAIRIE
Emily Dickinson
To make a prairie it takes a clover and one bee,--

One clover, and a bee,
And revery.
The revery alone will do
If bees are few. (33:1215)
It could be charged that "revery" is outside the
vocabulary of the first grade child. My rebuttal is that
he day-dreams, so he knows the process, and might well have
another name for it. "Revery" rolls on the tongue in a way
that "day-dreaming" does not.
The poet is going to make "a prairie"--not a pasture,
which would suggest purpose, or a meadow, which would limit
size. "Prairie" has a connotation of vastness and resist-
ance to the civilizing efforts of man. Is she saying that
our revery, or day-dreams, our aspirations, need not be
limited by the here and now? I think she is.

192
A WORD IS DEAD
Emily Dickinson
A word is dead
When it is said,
Some say.
I say it just
Begins to live
That day. (57:71)
Of course, words do not really die, but, unlike old
soldiers, neither do they fade away. Once said, they
remain spoken forever; once given life, they live with us
from that time on. By implication we are cautioned to say
only those words with which we would want to live.
The alliteration of "some say," the consonance of
"word . dead • • . said," and the cacophony of "just
begins 1 ' and "that day 11 all contribute to the poetic effect
by musical effect and accenting of important words.

193
I'M NOBODY
Emily Dickinson
I'm nobody! Who are you?

Are you nobody, too?
Then there's a pair of us--don't tell!
They'd banish us, you know.
How dreary to be somebody!

How public, like a frog
To tell your name the livelong day
To an admiring bog! (57:80)
The joys of anonymity are extolled by inference in
this poem that minimizes the importance of public recogni-
tion. The use of the cacophonous "bog" after the ehphonious
adjective "admiring" serves by anti-climax and contrast to
impress the meaninglessness of being "somebody."
The connotative meanings of "frog" and "bog" are also
a part of the total effect of the poem. A frog is cold,
green, spotted, and makes a most unpleasant sound. A bog is
damp, flat, and maybe even treacherous. Small comfort is
there in being somebody--an unpleasant thing in an unpleasant
place.
194
DUST OF SNOW
Robert Frost
The way a crow

Shook down on me
The dust of snow
From a hemlock tree
Has given my heart

A change of mood
And saved some part
Of a day I had rued. (42:118)
This poem tells us that unexpected, even trivial,
happenings can affect our emotions. The imagery is largely
visual with the impression first of a black crow in a snow
covered tree, then a movement by the crow brushes snow from
the tree onto someone near.
There seems to be a repetition of assonance of
contrast, the positioning the front and back of the mouth
occurring in almost every line: "way . • . crow," "shook
• me," "change . • • mood," "saved • . • part," and
"day • rued."
Children will need help understanding the word "rued."

195
THE RAINBOW
Christina Rossetti
Boats sail on the rivers,

And ships sail on the seas;
But clouds that sail across the sky
Are prettier far than these.
There are bridges on the rivers,

As pretty as you please;
But the bow that bridges heaven,
And overtops the trees,
And builds a road from earth to sky,
Is prettier far than these. (51:127)
This poem compares man-made things that sail or
bridge with natural things that sail or bridge, and finds
the natural things more appealing.
The metaphor calling a rainbow a "road from earth to
sky" supplies a new view of rainbows. Usually a rainbow is
either the symbol of God's promise not to be flooded again
or something to find a pot of gold at the foot of. This
third meaning expands experience.

196
The rhyme scheme is interesting. 11

Seas, 11
"these,"
"please," and ntrees" are in single syllable rhyme.
"Rivers" and "sky" are repeated rather than rhymed, and
nheaven" is alone.
To some degree "pretty" seems inappropriate, as if
minimizing or diminishing the grandeur and magnificence of
the natural phenomena. Perhaps it is a deliberate thing,
to cut them down to people size in order to better under-
stand them.
197
AFTERNOON ON A HILL
I will be the gladdest thing

Under the sun!
I will touch a hundred flowers
And not pick one.
I will look at cliffs and clouds

With quiet eyes,
Watch the wind bow down the grass,
And the grass rise.
And when lights begin to show

Up from the town,
I will mark which must be mine,
And then start down. (31:64}
The real emotion of this poem is hidden, obscured, by
the tense of the verbs. On the surface it is a happy plan
for an afternoon, but underneath it is a wish to withdraw
from the realities of life--for a brief period--in order to
regain perspective about one's role and place in life
("mark mine"} •
Repetition of "I will" serves both to strengthen the
resolve to go and to develop the plan for the afternoon.
The children will respond to the visual imagery of
this quiet afternoon on a hill.

198
STOPPING BY WOODS ON A SNOWY EVENING
Robert Frost
Whose woods these are I think I know.

His house is in the village though~
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer

To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake

To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep

But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep. (70:521)
This poem gives me so much pleasure that I feel com-
pelled to share it with the first graders. To me it speaks
of the "promises" or responsibilities that keep us moving

199
down the one-way street of life. Dark woods on one side
and a frozen lake on the other give one no choice but to go
forward. The "harness bells" of life are all the demands
on our attention that interrupt our quiet moments.
The first grader will respond to the visual imagery,
the rhythm, and the musical language. To have early
experience with this poem is to deposit in the bank of mem-
ory a treasure that may be drawn upon many times in future
years.
200
SOME ONE
Walter de la Mare
Some one came knocking

At my wee, small door;
Some one came knocking,
I'm sure--sure--sure;
I listened, I opened,
I looked to left and right,
But nought there was a-stirring
In the still dark night;
Only the busy beetle
Tap-tapping in the wall,
Only from the forest
The screech-owl's call,
Only the cricket whistling
While the dew drops fall,
So I know not who came knocking,
At all, at all, at all. (2:145)
The poet has used many techniques to achieve the
unique mood of this poem. At first the reader expects to
feel slightly frightened by the unexpected knock of the
unknown visitor. Up through the phrase "still dark night"
the accumulated connotative meanings tend to suggest that

201
something to fear may be beyond the door. That suggestion
of fright is stilled by the enumerating of the usual kind
of night noises, even though the knocker remains unknown.
Euphony results from the consonance of the many
words that contain 11

1 11 : "small," "listened," "looked,"
"left," "only," "wall," "owl," "call," "whistling,"
"whistling," "fall," and "all."
Alliteration in "dew-drops, ir "busy beetle," and
"tap-tapping" adds to the musical effect of the poem.
Repetition also adds to that effect, as in "sure---sure---
sure" and "At all, at all, at all." The latter repetition
results in assonance of pattern.

202
THE MOON'S THE NORTH WIND'S COOKY
Vachel Lindsay
The Moon's the North Wind's cocky,

He bites it, day by day,
Until there's but a rim of scraps
That crumble all away.
The South Wind is a baker.

He kneads clouds in his den.
And bakes a crisp new moon that--greedy
North--Wind--eats--again! (51:137)
This poem has been used to illustrate three separate
areas in the definitions section of this study. It was
indicated that the wind is personified, the theme was iden-
tified as the regularity of flux and change, and the tone
was called one of calm acceptance.
The new way of thinking about the moon presented in
this poem is especially imaginative. Most often, when
described imaginatively rather than scientifically, the
moon is thought of as either being made of green cheese or

203
is personified as a man, as in "the man in the moon." Here
we have an entirely different concept: the moon is a cooky
that is eaten and replaced with regularity.
There are several kinds of musical language: rhyme
in "day" with "away'' and "den" with "again," alliteration
in "crumble" and "crisp," and assonance in "kneads,"
"greedy," and "eats."

204
THE MOON
Elizabeth Coatsworth
The fields are spread like tablecloths

which the Moon puts out to dry,
and she has washed the high hilltops
and whitened all the sky.
Now pale, serene, and weary,

she glances round the night.
Is every flower silver?
Is each wild eyeball bright? (59:174)
The personification of the moon as a tidy housewife
gives added meaning to this moon-lit scene and supplies us
with yet another way to think about the moon.
There is assonance of similarity in the series "pale,
serene, and weary" and regular assonance in "wild eyeball
bright 11 and "round" with "flowers."

205
REEDS OF INNOCENCE
William Blake
Piping down the valleys wild,

Piping songs of pleasant glee,
On a cloud I saw a child,
And he laughing said to me:
'Pipe a song about a Lamb! 1

So I piped with merry cheer.
'Piper, pipe that song again;'
So I piped: he wept to hear.
'Drop thy pipe, thy happy pipe;

Sing thy songs of happy cheer!'
So I sung the same again,
While he wept with joy to hear.
'Piper, sit thee down and write

In a book that all may read.'
So he vanished from my sight;
And I plucked a hollow reed,
And I made a rural pen,

And I stain'd the water clear,
And I wrote my happy songs
Every child may joy to hear. (50:329)
The repetition of the various forms of the word
"pipe" has been noted earlier in the definitions section in
the discussion of repetition.

206
This poem may not have a unified meaning. Blake's
mysticism enabled him to see things that others do not see.
It seems to me that the poem suggests or hints at meaning.
"Lamb" is traditionally a symbol of sacrifice or of
innocence, perhaps a bit of both. Here it seems also to
have some quality of holiness, as it is capitalized. Could
the "Lamb" in the song and the "child" in the cloud be tre
same thing?
If so, it could help to understand the paradox of a
happy song causing a child to weep: "While he wept with
job to hear." If the lamb and the child are the same, and
both are Jesus Christ, what could cause both happiness and
tears? Perhaps the knowledge of the sacrifice required of
him would cause both happiness and tears.
The "happy songs" written down could then be the "good
news" of the gospel (the literal translation) and the "every
child" who may "joy to hear" is each person in the world to
whom the gospel brings the good news of Christianity.
I do not mean to say that this is what Blake meant
when he wrote the poem. This is what Blake's words suggest
to me.
207
The musical qualities of the poem, the rhythm and
the sounds of the language, are qualifications enough to
give it a place in this anthology and in the heart of every
child.
CHAPTER IV
CONCLUSIONS AND RECOMMENDATIONS
The emphasis of this study was on the critical,
rather than the utilitarian, choice of poetry by teachers,
specifically first grade teachers. A review of the bases of
criticism and children's literature specialists identified
first the important role of poetry in education and then
revealed what has been perceived to be the nature of poetry.
Criteria formulated after that review identified for
the first grade teacher the particular qualities, as dis-
covered by the study, that should form the basis of choice.
Briefly restated, those qualities are: {l} that the poem
should give pleasure to both teacher and students, {2} that
the poem should have some elements of musical language,
(3) that the poem should contain some essence of experience
that will heighten awareness, and (4) that the poem should
speak to the child as equal, it should not have a condes-
cending tone.
It is conceded that any discussion of poetry, because
of the very nature of poetry, is highly subjective.

209
The problem recognized and stated in this study
continues; the development of critical discrimination on the
part of the teacher needs to be begun anew in each new
teacher who is preparing to enter a classroom. In order to
help develop this critical discrimination, or "taste," and
to give poetry its proper place in every classroom, the
following recommendations are made:
1. All elementary school teachers should have a
course in poetry separate from the study of other kinds of
children's literature. This course should be taught from a
critical rather than historical or biographical point of view.
2. English majors should be encouraged to consider
becoming elementary school teachers. A secondary school has
a limited number of English teachers, but in an elementary
school every teacher is an English teacher. People who have
majored in English are likely to bring to the classroom a
respect and love for the use of language, well developed
reading skills, and exposure to many kinds of poetry that
hopefully has begun to develop taste.
3. Children should have many and varied listening
experiences with poetry.

210
4. Especially in first grade, memorizing of poetry
should not be required. It may result anyway from the
repetition of a beloved poem: this is truly "learning by
heart."
Poetry should not be used: it should be experienced.
It should not be taught: it should be shared. In the early
years of school it should not be studied: it should be
enjoyed. "Poetry ~be studied, and perhaps it should be,
by some people at some time. But it should be loved before
it is studied, else love of it may be lost forever" (20:xxi).

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OF POETRY FOR FIRST GRADE

the Graduate Faculty

Central Washington State College

of the Requirements for the Degree

Echo Mae Kime

A poem should be palpable and mute

Sjlent as the sleeve-worn stone

A poem should be wordless

A poem should be motionless in time

Leaving, as the moon releases

Leaving, as the moon behind the winter leaves,

A poem should be motionless in time

A poem should be equal to:

For all the history of grief

A poem should not mean

Statement of the Problem • 12

The Broad Problem 12

A More Limited Problem 13

Purpose of the Study • • 14

Limitations of the Study 15

II. CRITICAL CRITERIA 17

Poets and Critics 17

Children's Literature Specialists 26

III. DEFINITIONS, ANTHOLOGY, AND EXPLICATION 45

Verse and Free Verse . 46

Anthology and Explication 71

Wind and Weather . • . • • 73

"Brooms" by Dorothy Aldis 73

"Rain" by Robert Louis Stevenson 74

"The Sky Is Low" by Emily Dickinson 75

"Rain Sizes" by John Ciardi 77

"White Sheep, White Sheep" anonymous 79

"Wind on the Hill" by A. A. Milne 80

"Who Has Seen the Wind?" by Christina

"O Wind, Why Do You Never Rest?" by

"The Wind" by Robert Louis Stevenson • 84

"Wind Song" by Carl Sandburg • . • • . 85

"Summers End" by Lillian Moore • • 88

"First Snow" by Marie Louise Allen 89

"A Pine Tree Stands So Lonely" by

"Winter" by William Shakespeare 91

"The Snow Man" by Mildred Plew Meigs • 93

"Chanson Innocente" by E. E. Cummings 95

"Small Song" by Frances Frost 97

"Morning" by Emily Dickinson • 98

"There Isn't Time" by Eleanor Farjeon 100

"Bedtime" by Eleanor Farjeon • 101

Witches and Halloween 102

"Black and Gold" by Nancy Byrd Turner 102

"The Witch of Willowby Wood" by

Rowena Bennett 103

"The Egg-Shell" by Rudyard Kipling 106

Just Imagine • • • 108

"Wishes" by Rose Fyleman 108

"If" anonymous . .. .. . . . 110

"The Toaster" by William Jay Smith 111

"The Gold-Tinted Dragon" by Karla Kushkin. 112

"One Day When We Went Walking" by Valine

"Poor Old Lady" unknown 116